Aaron Wong

Tenor Charles Sy, a second-year master’s student in the Faculty of Music’s opera performance program, has won the first prize and the audience choice award at the Canadian Opera Company Ensemble Studio Competition.

A student of Professor Darryl Edwards, Sy received the award November 25 at the Four Seasons Centre for the Performing Arts. Second prize went to baritone Dimitri Katotakis, a �山ǿ�� alumnus also from the studio of Edwards.

The competition is the feature event of the COC’s annual fundraising gala, Centre Stage, an evening dedicated to the discovery and celebration of the next generation of opera stars. The event was hosted by alumnus Ben Heppner and featured a surprise performance by opera star and alumna Adrienne Pieczonka.

“We heard from seven fantastic singers at Centre Stage this year, some of whom will go on to have careers like those of Ben Heppner and Adrianne Pieczonka, whose names are associated with the world’s foremost opera houses, festivals and performance halls,” said COC General Director Alexander Neef.

“Canada’s emerging opera singers deserve to be heard and celebrated, and it’s an honour to be able to showcase the promise that these talented young artists represent.”

Sy and Katotakis – who graduated with a Bachelor of Music Performance in 2013 – were among seven finalists chosen by the COC artistic staff from a pool of 175 applicants for the 2015/2016 COC Ensemble Studio, of which 150 were invited to sing in preliminary auditions in Toronto, Vancouver, Montreal and New York.

Alumnae Eliza Johnson and Michelle Siemens, two other finalists from the studio of Edwards also competed in the final round.

“Charles’ outstanding singing comes as the result of his tremendous hard work, persistent curiosity, and his need to create deeply meaningful moments,” said Edwards.

It's the latest in a series of artistic and competitive successeses for Sy at the University of Toronto, The Centre for Opera Studies in Italy, the Banff Centre, the Music Academy of the West, and the Jeunes Ambassadeurs Lyriques Competition.

“Charles is always competing – with himself and his personal best, his musical best,” said Edwards. “He’s quite a marvel.”

This season, Sy sings the roles of Ralph Rackstraw in �山ǿ�� Opera’s HMS Pinafore, which opens on November 27, and Mr. Owen in Postcard from Morocco in the spring. His other �山ǿ�� credits include Mayor Upfold in Albert Herring, and Alamão in Pedro Malazarte. In 2015, he will sing the role of Adolfo in La Rondine with Opera Theatre of St. Louis.

Katotakis is now studying at McGill University, where recent roles include Demetrius in A Midsummer Night’s Dream and Lorenzo in Capuleti e i Montecchi.

Aaron Wong is a writer with the Faculty of Music at the University of Toronto.

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Convocation 2014: an interview with Academy Award-winning composer Mychael Danna

sgupta — Tue, 17 Jun 2014 10:15:34 +0000

Convocation 2014: an interview with Academy Award-winning composer Mychael Danna sgupta Tue, 06/17/2014 - 06:15

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(photo courtesy Life of Pi movie Flickr site)

Aaron Wong

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"With finding your voice you illuminate the human condition that we all share"

The creator of the Oscar-winning score for Ang Lee’s Life of Pi, film composer Mychael Danna is known for his evocative blending of non-western traditions with orchestral and electronic music.

His work with director and longtime collaborator, Atom Egoyan, produced many Genie Award-winning scores. Other celebrated collaborations include those with Bennett Miller, Terry Gilliam, Mira Nair, Billy Ray, Marc Webb and James Mangold. In 2006, he shared a Grammy Award nomination for Best Compilation Soundtrack Album for Little Miss Sunshine.

On June 13, at the Convocation ceremony for students of the Faculty of Music and OISE, the University of Toronto recognized the extraordinary accomplishments of this alumnus with a Doctor of Letters, honoris causa.

Danna took time out before receiving his honorary degree to chat with Faculty of Music writer Aaron Wong.

Has the string of honours (Oscar, Emmy, Golden Globe) for your work on Life of Pi affected your career?

Well… not really, although a lot of time has been taken up with awards and honours and interviews like this! I have always been exceedingly fortunate to have had the career I wanted, in the sense of working on interesting films with great directors who challenged me. It's not my strength or my interest to be involved in a mass entertainment film, like comic-book films for example, so that even if I get offered them now, I just wouldn't be interested anyway. So really the same sort of projects I have always been attracted to are the ones I am still pursuing.

What are some of the projects you have been working on since Life of Pi?
I did a couple of films with my long term collaborator Atom Egoyan — Captive and Devil's Knot — the Johnny Depp film Transcendence, Bennett Miller's new film Foxcatcher, and I am just starting a series called Tyrant.

How do you select which projects to take on, given that you must be inundated with commissions after Pi?

Nothing has changed in that regard, I always choose things where I feel that music has the opportunity to be able to say something interesting, and maybe something that takes me into a world i don't know about, which challenges me and takes me into uncomfortable territory. That's when the most interesting and often most fruitful work happens.

Do directors ask you to write in a particular style, or do they give you a free hand to bring on your musical vision for the film?

Definitely there is no such thing as a free hand for anyone in any facet of making a film! The story is the leader of all of us… we all follow what the story demands of us, through the director's eyes and ears of course, but the director is as much a slave to the story as anyone. We discover together how music can best help tell the story: by style, emotional temperature, density, instrument choice…. all those parameters are vital choices to be made before a note is written. And often they are adjusted and re-calibrated well into the process through trial and error.

Are there any non-musical activities you do that contribute to the creative process of composing? Reading, traveling, food, for example.

Yes, I find a great many ways to procrastinate before writing… I do a lot of study of the story itself and the director's vision of the story. Then follows research into the time/ place/ period, as well as research into the kinds of instruments I may be using (often different for each film). And, yes, I usually travel to go get those instruments, if they happen to be from another culture. For example, there is a large Armenian music community in Los Angeles, but I chose to go to Armenia itself to record the instruments and choir for Ararat. You learn a great deal from the culture where the instruments sprang from and thrived in, which ultimately can inform your understanding of and the way you use that instrument.

Who are some of your musical heroes? Both during your musical studies, and throughout your career.

That's a question I get asked a lot and one of the hardest to answer. I never had a mentor, I learned everything by doing it and figuring out how; I have mentored quite a few young composers now, which I really enjoy by the way, but they have a very different upbringing in that way than I did. I had many people that supported me and gave me opportunities, but no one who taught me my craft, except composers I never met, just through their work. Too many to mention really… ironically none of them were film composers, since I fell into film music somewhat by accident.

How does it feel to receive an honorary doctorate from your alma mater?

Well… I feel a bit guilty knowing how hard my sister and my friends have worked to get theirs! But it is an honour that is particularly meaningful, given the long history of this sort of thing, and the long distinguished list of people who have been honoured in this way. My career began within the halls of this University, through my study, the many kinds of music I was exposed to as an undergraduate, my work with theater groups, and thus my meeting with the director with whom I would write my first filmscore.

What would be the one piece of advice you would give to aspiring film composers, particularly those at �山ǿ��?

Be yourself. Ironically that's what touches people: your unique voice, not your insincere imitation of what someone else is doing. Even if you feel what you have to offer is so specific as to be not universal in the least, the paradox is that with finding your voice you illuminate the human condition that we all share. Find your own voice and be true to it.

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First woman organist at London's St. Paul's Cathedral: �山ǿ��'s Rachel Mahon

sgupta — Tue, 25 Mar 2014 11:31:29 +0000

First woman organist at London's St. Paul's Cathedral: �山ǿ��'s Rachel Mahon sgupta Tue, 03/25/2014 - 07:31

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The organ at St. Paul's Cathedral (photo by louisa_catlover via Flickr)

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Alumna graduated in 2013

When alumna Rachel Mahon takes up the position of William and Irene Miller Organ Scholar at St Paul's Cathedral in London, U.K. for the 2014/15 academic year, she will be the first woman to hold any organist post at the Cathedral.

"We all are so proud of her," said Patricia Wright, adjunct professor of organ at the Faculty of Music and director of music and organist at the Metropolitan United Church in Toronto. "This is a wonderful and well-deserved opportunity for Rachel."

At St Paul's, Mahon will join Organist Simon Johnson and Sub-Organist Timothy Wakerell, in the music department which is led by Director of Music Andrew Carwood.

"I am thrilled to have been appointed organ scholar at St Paul's Cathedral," said Mahon. "It will be a privilege to work with such experienced musicians as Andrew, Simon and Timothy, in so magnificent and historical a setting.

"It is with great excitement that I look forward to joining them and the Cathedral Choir in September."

The organ scholar of St Paul's plays a full role in the musical life of the Cathedral. As well as playing for services and in recitals, duties include taking choir rehearsals, conducting and helping with departmental administration, including being the assistant choir librarian.

"We are delighted to welcome Rachel to the team at St Paul’s, where she will join a long line of fine organists associated with the musical tradition at the Cathedral and its outstanding collection of pipe organs," Carwood said. "Her organ playing at audition was superbly poised and elegant and her considerable experiences and talents as a musician will be richly valued throughout the Cathedral."

For more than one thousand four hundred years, St. Paul's Cathedral has stood at the highest point in the City of London. The present Cathedral was built between 1675 and 1710 after its predecessor was destroyed in the Great Fire of London. It is currently the Cathedral of the Diocese of London.

A native of Toronto, Mahon (pictured right) began studying the organ in 2005. She was organ scholar at St James' Cathedral from 2007 and in 2011 became principal organist at Timothy Eaton Memorial Church.

Having completed her Bachelor of Music degree at the University of Toronto with John Tuttle, Organist of �山ǿ��, Rachel was awarded one of five major graduating scholarships from the Faculty of Music.

"Rachel is a natural musician," said Tuttle, "she has a wonderful technique at the organ, but she also has wonderful intuition about phrasing and interpretation."

Currently organ scholar at Truro Cathedral in Cornwall, U.K., the 24-year-old Mahon can already boast an impressive number of achievements such as winning both the Royal Canadian College of Organists' 2012 young organists’ competition and the 2013 Howard Fairclough Organ Competition. In the same year she took second place in the Canadian National Organ Playing Competition, and won the Paul Westermeyer Service and Hymn Playing Award and the Gerald Bales Award at the Kiwanis Music Festival.

At �山ǿ��, Mahon was the Bevan Organ Scholar at Trinity College. She has accompanied several choirs, either on a regular basis or as a guest artist, including the Oratory Children's Choir, Windago, the Tallis Choir, the Mendelssohn Singers, the Elora Festival Singers and the Larkin Singers.

Last year, Mahon and fellow organist Sarah Svendsen formed Organized Crime, a duo that plays traditional and non-traditional repertoire (often in stilettos), with a focus on fun.

"What a thrilling accomplishment for a beautifully sensitive and dedicated artist," said Assistant Professor of Organ and Harpsichord Kevin Komisaruk.

"She has so much to offer the liturgy and musical life at St Paul's in this role," said Komisaruk. "We are rejoicing for her here!"

Aaron Wong is a writer with the Faculty of Music at the University of Toronto.

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One of world’s foremost saxophonists and jazz educators to join �山ǿ��

sgupta — Thu, 05 Dec 2013 17:41:31 +0000

One of world’s foremost saxophonists and jazz educators to join �山ǿ�� sgupta Thu, 12/05/2013 - 12:41

Aaron Wong

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David Liebman, former sideman for Miles Davis

The University of Toronto Faculty of Music has appointed David Liebman to the position of adjunct professor of jazz for the 2014-15 academic year.

Liebman will make four intensive visits to �山ǿ�� in 2014-15 during which he will offer master classes to students in the jazz studies program and perform both on and off campus.

Hailing from Brooklyn, New York, Liebman apprenticed as a sideman in the groups of Elvin Jones and Miles Davis in the early 1970s. From the ensembles he co-led with pianist Richie Beirach (Lookout Farm, Quest) to his Sax Summit collaborations with Joe Lovano and the late Michael Brecker, Liebman has maintained a commitment to an individual sound steeped in the tradition of the 1960s jazz innovators whose music he absorbed as a teenager in New York City.

His work on more than 350 recordings has solidified his reputation as one of the greatest living jazz saxophonists.

“I texted all my friends as soon as I found out the news. This is a major ‘get’,” said Ali Berkok, second-year doctoral student in the jazz program.

Awarded the 2011 National Endowment for the Arts Master of Jazz, the highest honour granted for jazz in the U.S., Liebman is a pioneer in jazz education, and currently serves as artistic director of the International Association of Schools of Jazz (IASJ) and artist-in-residence at the Manhattan School of Music.

His book, A Chromatic Approach to Jazz Harmony and Melody, was arguably the first comprehensive methods book to decode the chromatic language that John Coltrane and his contemporaries brought to jazz improvisation in the 1960s.

This methodology has been taught by Liebman at the Manhattan School of Music for more than a decade, and will be introduced to students in the Faculty of Music’s master's and doctor of musical arts programs.

“Liebman is a master innovator, improviser and educator,” says second-year undergraduate jazz saxophone student Anthony Argatoff, recalling Liebman’s visit to the Faculty of Music last year.

“His way of articulating and instructing concepts and ideas is incredible.”

The addition of Liebman brings a new and exciting dimension to an already vibrant jazz performance program, placing �山ǿ�� at the forefront of post-secondary jazz education in Canada, said Gordon Foote, professor of jazz.

“We are extremely fortunate to have Liebman add his considerable experience and ability to inspire to the growing momentum of the University of Toronto jazz program."

Aaron Wong is a writer with the Faculty of Music at the University of Toronto.

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Juno nominations for �山ǿ�� musicians

sgupta — Wed, 20 Feb 2013 13:20:45 +0000

Juno nominations for �山ǿ�� musicians sgupta Wed, 02/20/2013 - 08:20

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The Juno-nominated Alex Goodman Quintet includes (from left) alumni Maxwell Roach, Dan Fortin, Alex Goodman and D'Arcy Myronu as well as saxophone player Nick Morgan (photo by Chris Lindhorst)

Aaron Wong

Author legacy

Aaron Wong

Alumni, faculty and resident ensembles from the University of Toronto's Faculty of Music have received seven Juno nominations in five categories.

They're joined by a PhD student in English from the university: David Ritter (vocals, keys) is a member of The Strumbellas. The band, often described as indie/rock and alt-country, is nominated under Roots & Traditional Album of the Year (group) for the debut album My Father and The Hunter.

The Strumbellas are on tour in the Martimes, playing in New Brunswich Feb. 23 and Halifax Feb. 24. They will be playing in Toronto March 1, 2013 at Caplansky's Delicatessen.

It's a first Juno nomination for the Faculty of Arts & Science's Ritter. Also receiving his first Juno nomination is Associate Professor Terry Promane.

"I'd like to congratulate the great work of my fellow faculty members and acknowledge the tremendous support from the Faculty of Music," said Promane, coordinator of Jazz Studies at �山ǿ��.

The Dave Young/Terry Promane Octet's Volume One was nominated for Traditional Jazz Album of the Year. The album was produced by alumnus Roberto Occhipinti.

"The Octet has been a labor of love since the start," said instructor Young, a renowned bassist who has received eight Juno nominations throughout his career and who won the 1993 Juno Award for Best Mainstream Jazz Recording for Fables and Dreams.

"We hope for the best at this point and extend hearty congratulations to our talented colleagues who have also been nominated for a Juno award," Young said.

Young and Promane's group includes colleagues Gary Williamson (piano) and Mike Murley, a lyrical saxophonist who has won two Junos and played on 10 Juno award-winning recordings since 1991, including four for which he was leader or co-leader.

Murley's work netted two separate nominations this year in the Traditional Jazz Album of the Year category. Along with bassist Steve Wallace and guitarist Ed Bickert, Murley is also nominated for Test of Time, a recording released Dec. 7, 2012 at �山ǿ��'s Upper Jazz Studio.

The trio’s only other release, Live at the Senator, won the 2002 Juno Award for best mainstream jazz album.

"I am honoured and thrilled to be part of �山ǿ��'s strong jazz presence among Juno nominations this year," Murley said. "Our world-class faculty and alumni are well represented once again."

Among the alumni recognized is a quintet that includes four recent graduates of the Faculty of Music. The Alex Goodman Quintet received a nomination for Contemporary Jazz Album of the Year for Bridges.

Goodman, who graduated in 2010, was awarded the William and Phyllis Waters Graduating Award for the “student deemed to have the greatest potential to make an important contribution to the field of music.” The recipient of a 2013 ASCAP Herb Alpert Composers Award, Goodman is currently working on his first book of solo guitar music.

The list of �山ǿ��'s Juno nominees includes:

CONTEMPORARY JAZZ ALBUM OF THE YEAR

Alex Goodman Quintet – Bridges
The quintet is led by guitarist Goodman (MusBacPerf 2010) and includes pianist D’Arcy Myronuk (MusBacPerf 2007), bassist Dan Fortin (MusBacPerf 2007), and drummer Maxwell Roach (MusBacPerf 2009).

TRADITIONAL JAZZ ALBUM OF THE YEAR

Dave Young/Terry Promane Octet – Volume One
The Dave Young/Terry Promane Octet includes jazz faculty Young, Promane, Murley, Williamson and alumnus Kevin Turcotte (MusBac 1991).

Murley, Bickert and Wallace – Test of Time
The album is led by jazz faculty member Murley.

CLASSICAL ALBUM OF THE YEAR: SOLO OR CHAMBER ENSEMBLE

Canadian Brass – Canadian Brass Takes Flight
The Canadian Brass is the Ensemble-in-Residence at the Faculty of Music in 2012-13.

Amici Chamber Ensemble – Levant
Amici consists of cellist David Hetherington, pianist Serouj Kradjian (MusBacPerf 1994), and clarinet faculty Joaquin Valdepenas.

CLASSICAL ALBUM OF THE YEAR: LARGE ENSEMBLE OR SOLOISTS WITH LARGE ENSEMBLE ACCOMPANIMENT

Tafelmusik Baroque Orchestra – The Galileo Project
The Galileo Project was conceived, scripted and programmed by Alison MacKay (MusBac 1974) for the Tafelmusik Baroque Orchestra, the Baroque Orchestra in Residence at the Faculty of Music.

CLASSICAL ALBUM OF THE YEAR: VOCAL OR CHORAL PERFORMANCE

Tafelmusik Baroque Orchestra and Chamber Choir – Handel Messiah
Handel Messiah was conducted by instructor Ivars Taurins of the Faculty of Music and features Brett Polegato (MusBacPerf 1994) as one of the soloists. Tafelmusik Baroque Orchestra is the Baroque Orchestra in Residence at the Faculty of Music.

Alumni and faculty contributed to a wide range of nominated albums. The Gryphon Trio, Ensemble-in-Residence, commissioned and recorded Alexina Louie's Echoes of Time, nominated for Classical Composition of the Year. The album also features clarinetist James Campbell (MusBac 1971). The Gryphons are also soloists in Equilateral, a triple concerto by Jeffery Ryan (MusM 1989) which is featured on the Vancouver Symphony Orchestra's album, Fugitive Colours, nominated for Best Classical Album, Large Ensemble or Soloists with Large Ensemble Accompaniment. Drummer Colin Kingsmore (MusBacPerf 2005) is featured on Rewind, which is nominated for Vocal Jazz Album of the Year.

The 2013 Juno Awards broadcast will be hosted by Michael Bublé and will air Sunday, April 21 on CTV from Regina’s Brandt Centre.

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Competing for the Canadian Opera Company

sgupta — Thu, 06 Dec 2012 11:38:15 +0000

Competing for the Canadian Opera Company sgupta Thu, 12/06/2012 - 06:38

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Alumna Charlotte Burrage performs at the Four Seasons Centre for the Performing Arts (all photos by Chris Hutcheson, courtesy the Canadian Opera Company)

Aaron Wong

Gavin Au-Yeung

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Aaron Wong and Gavin Au-Yeung

�山ǿ��'s Andrew Haji and Charlotte Burrage took top prizes at the Canadian Opera Company’s Second Annual Ensemble Studio Competition recently at the Four Seasons Centre for the Performing Arts.

Master's student Haji, a tenor, won the second prize and alumna Burrage, a mezzo-soprano, placed third. The top honour went to bass-baritone Gordon Bintner of Regina.

"For the past couple of years the Opera Division [at U of T] has performed a noon hour concert [at the Four Seasons] to showcase the things we were working on that year. I suppose this gave me somewhat of a home field advantage—not everyone involved in the COC competition had had the opportunity to perform in that space before," says Haji. "It's a very interesting space with some unique acoustic considerations—and those considerations change considerably once you add in an audience."

Haji (pictured at right) received a $3,000 cheque while Burrage took home $1,500 but the real prize may be yet to come.

"All 10 finalists are considered for a position in next year's COC Ensemble Studio," Haji says. "The COC Ensemble Studio is a unique and rewarding opportunity. Having the chance to work with world-class teachers, coaches, and directors at the COC and to perform on the main stage at the Four Seasons Centre—arguably the finest opera house in Canada—is a very exciting prospect."

Haji, who received his bachelor's degree in music performance from �山ǿ��'s Faculty of Music is now working on his master’s degree in opera as a student of Darryl Edwards.

"What initially attracted me to the school, as an undergrad, was a teacher—Darryl Edwards," Haji says. "The �山ǿ�� Faculty of Music is blessed to have some of the finest voice teachers in Canada, and young singers need to seriously consider their choice of teacher when selecting a university."

Over the past year, Haji portrayed Tamino in Accademia Europea dell’Opera’s The Magic Flute and in January he starred as Toronto mayor Rob Ford in the Opera Division’s one-time-only production of Rob Ford, the Opera. He has also played Ferrando in Così fan tutte and Don Ottavio in Don Giovanni with �山ǿ��. Most recently, he performed Nemorino in the Opera Division’s production of L’elisir d’amore.

"I've been lucky to have been involved in a number of exciting operas in the Faculty of Music's MacMillan Theatre, both in my undergrad and my graduate studies," says Haji. "Arguably the most memorable was Rob Ford, the Opera.

"This opera, with libretto written by our very own Michael Patrick Albano, took the city by storm. We had newspapers and TV stations pounding down the doors, and when showtime came around we filled every single seat of the theatre, and even had people standing outside watching the show on TV monitors. It was a brilliant concept which I think managed to bring opera to a whole new audience. People who wouldn't normally go to the opera came out to see this show because it was relevant, and funny. It was an absolute blast to perform, and I continue to hold out the hope that we will remount the show one of these days."

Burrage also studied voice performance with Edwards at the Faculty of Music, where she received her bachelor’s and master’s degrees and performed in the Opera Division’s productions of Cosi fan tutte, The Merry Wives of Windsor, Die Fledermaus and The Marriage of Figaro.

Although the chance to study with Edwards originally attracted Haji to �山ǿ��, he found many more reasons to stay.

"I also have a great deal of respect for the work done at the �山ǿ�� Opera Division. Michael Patrick Albano and Sandra Horst—the two people in charge of the Opera Division—are phenomenal," Haji says."The staff in MacMillan Theatre produce the most stunning sets and the production values of the shows performed here are very high.

"We have excellent coaches, world-class guest clinicians who lead master classes and private coachings, and numerous performance opportunities, both in and out of the big theatre. You'd be hard pressed to find as comprehensive and as fulfilling a program anywhere else in Canada."

Haji and Burrage were among 10 finalists selected from 146 singers across Canada in preliminary auditions held in Toronto, Vancouver, Montreal and New York. Each finalist performed two arias with piano accompaniment in front of a sold-out audience in the Richard Bradshaw Amphitheatre at the Four Seasons Centre, and an adjudication panel composed of COC General Director Alexander Neef, COC Artistic Administrator Roberto Mauro, COC Music Administrator Sandra Gavinchuk, Head of the COC Ensemble Studio Liz Upchurch, and Canadian soprano, singing teacher and Ensemble Studio alumna Wendy Nielsen.

The COC Ensemble Studio is Canada's premier training program for young opera professionals. It provides advanced instruction, hands-on experience, and the practical career development skills necessary to succeed as a self-employed artist in a highly competitive international environment. Among the Ensemble’s current members are �山ǿ�� alumni and recent Opera Division graduates Christopher Enns and Claire de Sevigne.

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Behind the music with Kevin Lau

sgupta — Tue, 26 Jun 2012 13:59:44 +0000

Behind the music with Kevin Lau sgupta Tue, 06/26/2012 - 09:59

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�山ǿ�� alumnus Kevin Lau has spent the past decade composing and studying at the Faculty of Music (photo by Bo Huang)

Aaron Wong

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Aaron Wong

Features

Music

Composer Kevin Lau received his bachelor's of music in composition from the University of Toronto in 2005, his master of music in composition in 2007 and his doctor of music in composition last week. The day before Lau crossed the stage at Convocation Hall to receive his degree, the Toronto Symphony Orchestra named him its RBC Affiliate Composer. Writer Aaron Wong spoke with Lau about his success.

What was your reaction to the announcement?
I was in the middle of a tutoring session when I got the call. I was preparing for rejection (as I tend to do when applying for any highly competitive appointment) so when I was told I'd gotten the position, I was speechless for a few seconds, after which I literally blurted, "Really?!" thus negating any eloquence I might have demonstrated during the interview process. After that, of course, I was absolutely thrilled, although it still took me a couple days to process the information before I told my parents.

How has your education at �山ǿ�� helped you in your career?
I have been studying at the Faculty of Music for approximately a decade, which is about the length of time I have been writing music and working (or attempting to work) as a composer, so the impact that the Faculty has had on my development as a composer, musician and citizen has been tremendous. There are many layers to my experience here that reflect the variety of influences the Faculty has had on my career and the career of others. Of course, all of my classes (and there were a lot of them) helped me expand my knowledge of craft and repertoire, and the really great ones encouraged me to ask the big questions about art and art-making in general.

The relationship I have with my composition teacher and mentor, Christos Hatzis, is one I could not have dreamed for anywhere else (more on this later). The Faculty was, in general, an invaluable resource; I spent many hours on my own in the music library, perusing through scores and recordings and generally engaging in self-directed research.

All this has helped me grow as a composer, which in turn has aided my ability to develop professionally in my work. But the most visible impact on my career comes from networking. Nearly every relationship I've had with any collaborator, commissioner or employer has been the result of some connection, however tenuous, that was established at the university and at the faculty. Most of the landmarks in my career thus far would not have been possible -- may not even have occurred to me as opportunities -- had I not been immersed within this wonderfully fertile environment.

What do you hope to achieve at your new post at the TSO?
In many ways, my new post at the TSO is an extension of all the things I am already passionate about -- composing for orchestra, collaborating with musicians, educating young people on the joys of music-making, absorbing new repertoire while advocating for the talents of undiscovered composers -- but with an added degree of responsibility and reach that comes with a position of such high repute and visibility. The TSO provides an excellent platform for artists to make a difference, and I intend to do as much as I can in that regard.

My goal in all of this -- whether it be in my own personal space as a composer and artist or in a workshop situation where I am teaching kids about music for the first time -- is to get people to perhaps think slightly differently about music, and that has something to do with the level of engagement on the part of each party (composer, performer, listener) and what we all have to bring to the table. My hope over the next two years is to enable others to discover that music, taken as a whole, is a fundamental (rather than secondary) aspect of the human experience, and that we are all richer for taking part in it. The value of music lies in its depth and complexity (that is why multiple listens are required for any great work), and in our ability to derive deep meaning from music at a level that is not precisely rational but intensely felt all the same.

How will this help you grow as a composer?
The standard of music-making at the TSO is very high, and I think this opens up many doors for me as a composer. In writing for the TSO, I feel that I will have the opportunity to broaden my musical horizons by seizing upon a wide range of musical avenues -- from technical processes to deeper issues of vision and intent -- that I have yet to explore in the past.

There is also an added element of artistic and professional responsibility which I find tremendously motivating. This is true of any position, but because I have been attending the TSO for about twenty years, I feel that my relationship with the TSO will always be grounded in my experience as a TSO subscriber and the expectations that I bring with me as a listener. As a result, I have a very personal vision of what I want to accomplish musically, based on my history of wonderfully cathartic experiences with the TSO.

Anyone to thank?
Artists depend on the generosity and goodwill of others to realize their passion, and I have been amazingly fortunate in this regard. There have been so many individuals who have guided, shaped, and in some cases built my career over the last ten years, and I owe them a tremendous debt of gratitude. In particular, without the support of people like Gary Kulesha, John Barnum, Ron Royer, Kerry Stratton, as well as my performer colleagues Conrad Chow, Rachel Mercer, Victor Cheng, and my composer colleague (and fellow "Boundless" campaign collaborator) Aaron Tsang, I would not be anywhere near where I am today!

I'd also like to thank my parents, family, and friends for their support and for their patience and understanding when I disappear off the face of the earth in order to meet a looming deadline (which is frequently.) Of course, the person I'd like to thank most is Christos Hatzis, my supervisor and mentor for the past eight years, who guided me not only in my career but in my development as an individual, and who revealed to me a joy in creation that is a gift I cherish every day.

I am tremendously thrilled and delighted at my composer affiliate appointment with the TSO, and I'd like to thank the University of Toronto for providing me with such a solid foundation upon which to build my career and identity. I will aspire in every way to help others realize their own dreams in the way others have helped me realize mine.

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�山ǿ��'s Lau heads to Toronto Symphony Orchestra

sgupta — Wed, 20 Jun 2012 12:47:37 +0000

�山ǿ��'s Lau heads to Toronto Symphony Orchestra sgupta Wed, 06/20/2012 - 08:47

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Renowned composer Kevin Lau is known for his extensive and varied opuses (photo by Bo Huang)

Aaron Wong

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Aaron Wong

As graduation gifts go, this one is tough to beat.

The day before �山ǿ��’s Kevin Lau crossed the stage at Convocation Hall to receive his doctorate in music composition, the Toronto Symphony Orchestra named him its RBC Affiliate Composer.

"I was in the middle of a tutoring session when I got the call," Lau said. "I was preparing for rejection (as I tend to do when applying for any highly competitive appointment) so when I was told I'd gotten the position, I was speechless for a few seconds, after which I literally blurted, 'Really?! thus negating any eloquence I might have demonstrated during the interview process."

The sought-after, two-year residency means Lau will begin working with the renowned orchestra in September 2012.

“The affiliation with a professional symphony orchestra is quite significant,” said Professor Christos Hatzis, composer of the critically acclaimed multimedia work Constantinople, and Lau’s composition teacher and graduate advisor. “It is something composers of my generation did not have during our formative years.”

During his residency with the TSO, Lau will compose at least two works for the orchestra, the first of which will be premiered in June 2013 in concerts featuring the Chinese pianist Yuja Wang. He will also participate in educational work with young audiences in the TSO’s community outreach programs.

"My hope over the next two years is to enable others to discover that music, taken as a whole, is a fundamental (rather than secondary) aspect of the human experience, and that we are all richer for taking part in it." Lau said. "The value of music lies in its depth and complexity (that is why multiple listens are required for any great work), and in our ability to derive deep meaning from music at a level that is not precisely rational but intensely felt all the same."

Lau’s position is part of the TSO’s Emerging Artists Program which will also bring University of Toronto alumnus Shalom Bard to the TSO as Resident Conductor. Bard will conduct up to 20 concerts throughout the season and will also conduct the Toronto Symphony Youth Orchestra’s concerts, mentoring its musicians and directing rehearsals.

“I was delighted to hear of the appointments,” said Dean Don McLean of the Faculty of Music. “I am particularly pleased that Hong-Kong born, �山ǿ�� trained Kevin Lau will be working with Maestro Oundjian, my longtime colleague UofT/TSO composer Gary Kulesha, and newly appointed, Israeli-born Resident Conductor Shalom Bard, a graduate of both �山ǿ��'s Faculty of Music and the Schulich School of Music of McGill University—showing once again that it takes a global village to raise an artist.”

An active composer of contemporary music of great range, Lau is known for his extensive and varied opuses.

While a student at �山ǿ��, Lau wrote the score to the theatre musical Box Office, which was staged seven times at the Tarragon Theatre as part of the Toronto Fringe Festival. In the years that followed, he also scored for a professional video game based on the movie, 300, and wrote music for a dozen films, including a feature documentary on the History Channel.

He has been commissioned to write concert music for such ensembles as the Hamilton Philharmonic, Mississauga Symphony, Cecilia Quartet, Via Salzburg Chamber Orchestra, Orchestre de la Francophonie, Toronto Symphony Youth Orchestra, Hannaford Street Silver Band, Esprit Orchestra and the Sneak Peek Orchestra, which he co-founded.

“Kevin has a great talent - an inquisitive mind that constantly tries to find connections between his art and the world at large,” said Hatzis. “He is a genuine human being, who is uncompromising in his pursuit of excellence but also very supportive of his colleagues and schoolmates.”

One of Lau’s latest projects was to compose the score for �山ǿ��’s $2-billion Boundless fundraising campaign, heard in this video. Among his other compositions are Fountain of Dreams, which won both the 2005 Mississauga Young Composers’ Competition and the 2008-2009 University of Toronto Composer’s Competition, and Starsail, which won the Faculty of Music’s Karen Kieser Prize in Canadian Music in 2010.

His Cello Concerto, Foundation, was commissioned and recently premiered by �山ǿ�� alumna Rachel Mercer with the Sneak Peek Orchestra to great acclaims. His composition Joy, for solo violin and strings, will be featured in a soon to be released CD by Canadian violinist Conrad Chow.

Hatzis attributes Lau’s diverse creative output to the unique environment of the Faculty of Music’s composition program.

“The composition faculty is rather eclectic and covers a great deal of ground compositionally,” said Hatzis. “Our students are thrust into an environment of a wide range of ideas, debated and cross referenced.”

In 2010, Lau was appointed Composer In Residence for the Mississauga Symphony Orchestra, and this summer, he will serve as one of two Emerging Composers In Residence at the Banff Centre Summer Arts Festival.

“The TSO appointment is the beginning of what I predict will be a meteoric career in composition,” said Hatzis. “I could not be happier and more proud for this former student, friend and colleague.”

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Jazz lecturer wins second Juno Award

sgupta — Wed, 04 Apr 2012 12:48:05 +0000

Jazz lecturer wins second Juno Award sgupta Wed, 04/04/2012 - 08:48

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Juno Award-winner David Braid (Photo by Jimmy Katz)

Aaron Wong

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Aaron Wong

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David Braid recognized for solo recording

Faculty of Music jazz lecturer David Braid has won another Juno Award: his solo recording, Verge, has been selected as the 2012 Traditional Jazz Album of the Year.

“It is very exciting to see our graduates develop international careers,” said Terry Promane, Director of Jazz Studies at the Faculty of Music. “We are very proud of David, not only for his flourishing career, but also his passion for teaching at �山ǿ��.”

This is Braid’s second Juno and his first in a solo role. Vivid, his recording with the David Braid Sextet was the 2005 Juno winner in the same category. Braid is among a number of musicians from the Faculty of Music’s Jazz Studies program to be nominated for the Juno Awards.

Since graduating from the Faculty of Music’s jazz program in 1998, Braid has released nine recordings, garnering six Juno nominations and two Juno awards.

“I feel extremely blessed to have enjoyed such a rewarding career,” said Braid. “My time at the University has been integral to my learning and growth as a musician, and I sincerely thank the Faculty and the students for the resource and inspiration they have been to me.”

Hailed by Maclean’s magazine as "A jazz genius to call our own", Braid is among a new generation of Canadian artists making his mark on international stages. He has performed across Western Europe, Scandinavia, Asia, Australia, Brazil, the United States and Canada.

When Braid is home from his international concert schedule, he maintains an active teaching and composition studio at the Faculty of Music.

In 1998, Braid was nominated for the Canadian Governor General's Academic Medal upon graduation from �山ǿ��. He was recently awarded Jazz Pianist of the Year in Canada, as well as SOCAN Composer of the Year, recognizing his output of over eighty works including compositions for solo piano, jazz ensembles, chamber ensembles, and symphony orchestras. He is also a multi-National Jazz Award Winner and a recipient of the Canada Council for the Arts' "JazzID Award."

Braid has collaborated with such diverse musicians as ZAPP4 (The Netherlands), Indian classical musician Vineet Vyas (tabla), China's Chang Jing (guzheng), and the popular jazz/rock group, Metalwood. He has appeared as a soloist with the Winnipeg Symphony Orchestra performing George Gershwin's Rhapsody in Blue. Braid is also composing a cello concerto for one of the world's leading cellists, �山ǿ�� faculty member Shauna Rolston. Most recently, he was commissioned to write a set of compositions for brass quintet, which he performed and recorded on 2011 Juno-Nominated, Spirit Dance, with the Canadian Brass.

Braid has been a faculty member at the University of Toronto since 2003, and is an honorary guest professor at Xinghai Conservatory in China. Artist's website: www.davidbraid.com

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�山ǿ�� music student lands prestigious recital in Amsterdam

sgupta — Fri, 23 Mar 2012 13:26:01 +0000

�山ǿ�� music student lands prestigious recital in Amsterdam sgupta Fri, 03/23/2012 - 09:26

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Faculty of Music student Tariq Harb (Photo by Saad Qatan)

Aaron Wong

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Tariq Harb to perform at Concertgebouw

On the heels of winning two international competitions back to back, the Faculty of Music’s Tariq Harb has nabbed one of the most sought-after gigs in the music business – a solo recital at the Concertgebouw in Amsterdam.

The Doctor of Musical Arts student will be the opening act on the “Meesters op de Gitaar” concert series at the prestigious venue in the 2012-13 season.

The opportunity follows Harb’s sweeping victory in December 2011 at the 2nd Barrios WorldWideWeb Competition in Paraguay where he triumphed over more than 70 contestants from 30 countries to take both the First Prize and the Audience Prize. Six months earlier, Harb also won the First Prize at the Montreal International Classical Guitar Competition.

A student of Senior Lecturer Jeffrey McFadden, Harb attributes his recent successes to the strength of the guitar program at the �山ǿ��, which has produced graduates such as Liona Boyd, Dale Kavanagh, Laura Young, Michael Kolk and McFadden.

“I wouldn’t have been able to accomplish so much without the unceasing support of my instructor, faculty and peers,” Harb said. “The guitar program at �山ǿ��’s Faculty of Music has helped me develop a mature, effective musicianship along with first rank performing skills on my instrument.”

Harb took to the guitar and violin at the age of eight, and began studying at the Queen Noor National Music Conservatory in Amman, in his native Jordan. Soon he was performing for small audiences in various festivals and talent shows in the company of his rock band. Upon graduating from high school, Harb moved to Canada where he graduated with a Bachelor of Commerce degree from Concordia University. After a brief period working as a financial advisor, he realized his true passion for music, pursuing guitar studies at Concordia University and McGill University, before enrolling in �山ǿ��’s doctoral program in 2010.

“It has been a great pleasure working with Tariq Harb over the first two years of his doctoral studies here at �山ǿ��,” said McFadden. “The University guitar community and in fact, the Faculty of Music as a whole, are extremely proud of his recent triumphs.

“There is no doubt that Tariq will represent the University in the brightest light as his career continues to develop and thrive.”

Can’t make it to the Concertgebouw? Harb will be performing with the �山ǿ�� Guitar Ensemble in a free concert at the �山ǿ�� Art Centre on Wednesday, March 28 at 7:30 pm. The program includes music by W.A. Mozart, Leo Brouwer, Carlos Guastavino, Agustin Barrios Mangore, Napoleon Coste, and Edvard Grieg.

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