Soundstreams Commissions

Sokolović describes 'Dring, Dring' as a “little musical theatre piece inspired by the telephone and the actions we take around that common object.” Divided into four sections (“dialling,” “answering,” “lullaby,” and “bye-bye”), the piece explores both the sounds emitted by the telephone and our human interactions with it.

'Mallet Quartet' marked the first time Reich had written for the five-octave marimba. Written in three movements (fast, slow, fast), the work involves a series of interlocking patterns among which the four players move. The marimbas create a dense harmonic background in the two fast movements, while in the central slow movement the texture becomes unexpectedly spacious and transparent.

Staniland observes, Some percussion instruments “exhibit their most interesting and expressive sounds at the pianissimo dynamic register, which is at odds with the type of blustering, heavy-handed writing often associated with percussion. . . In this piece I wanted to explore a journey from a wild and ferocious sound world that gradually recedes into a mystical and beautiful sound world lying beneath.”

Written in up to eight different parts with eight different tempi and/or downbeats, 'Time Zones' gives each of the two players’ four mallets its own “time zone.” Performance of the work requires a drum-set player’s “limb independence,” but with the drummer’s independent use of arms and legs replaced by independence in the use of the mallets—a feat that Hatch describes as “not unlike trying to rub your tummy while tapping your head, but much more difficult.”

Though the marimba and the Japanese koto come from divergent musical cultures, their timbres complement each other: both have a particular contemplative quality. Oesterle exploits the sonic texture of this unusual combination of instruments extensively throughout this piece, drifting from extremes of density and volume within a restrained melodic contour.

'Cantares' ('Singings') is based on sixteen traditional Spanish songs, mostly from Castile. Encompassing religious songs, love songs, social songs, and a lullaby, much of the material would originally have been sung a cappella, with only rhythmic accompaniment. Evangelista sought a way of presenting them in new ways without imposing a harmonic language.

The Warsaw Ghetto Uprising of 1943 was one of the twentieth century’s most tragic episodes of heroism: a desperate act of Jewish resistance against the murder of the ghetto’s population. Palej’s musical commemoration of this event draws on texts both ancient and modern.

Created to mark the twentieth anniversary of the fall of the Berlin Wall, this piece does not merely celebrate that momentous event; its larger purpose is to explore through music the entire story of the city’s division. Each of its six movements is inspired by historical events during the Wall’s rise and fall.

In considering what other group of instruments would best complement the pan’s idiosyncratic timbre, Colgrass decided to emphasize its warmth and its sustain with harp, marimba, vibraphone, and other small percussion instruments. The result is an immense palette of musical colours not found in more conventional ensembles.

In this series of seven musical meditations on the words spoken by Jesus on the cross, Frehner makes dramatic use of counterpoint and other forms of superimposition to explore the meanings and universal resonances of the texts.

In this acclaimed and ground-breaking work, the first oratorio ever to be written in the Cree language, Weesageechak and Misigoo bemoan the departure of the living to the land of the dead. They travel to the magic island where the Spirits of the Dead dance by the light of the moon, held up by Atheegis the Frog.

Etty Hillesum was twenty-nine when she died at Auschwitz on November 30, 1943. 'An Unfinished Life' is based on the diaries that this young Dutch Jewish woman kept from March 1941 to October 1942. Cherney transformed several brief passages of Hillesum’s own writing, including several prayers, into a form of verse, and set these for the voices.

Commissioned for Soundstreams’ biennial University Voices event in 2006, 'When Lilacs Last in the Dooryard Bloom’d' is based on the lyric elegy written by Walt Whitman upon the assassination of U.S. President Abraham Lincoln in 1865. It began life as a piano piece, Lilacs, which imagined the poem’s free-verse rhythms and cadences as a purely musical narrative.

The Toronto Fanfare Project, a series of eclectic concerts presented as part of the 2006 soundaXis festival of music and architecture, offered an elaborate five-day welcome to this rich literature for brass ensemble, animating some of the great architectural and acoustical masterpieces in the core of Toronto with a celebration of the music of Canada and its northern neighbours.

The Toronto Fanfare Project, a series of eclectic concerts presented as part of the 2006 soundaXis festival of music and architecture, offered an elaborate five-day welcome to this rich literature for brass ensemble, animating some of the great architectural and acoustical masterpieces in the core of Toronto with a celebration of the music of Canada and its northern neighbours.

The Toronto Fanfare Project, a series of eclectic concerts presented as part of the 2006 soundaXis festival of music and architecture, offered an elaborate five-day welcome to this rich literature for brass ensemble, animating some of the great architectural and acoustical masterpieces in the core of Toronto with a celebration of the music of Canada and its northern neighbours.

The Toronto Fanfare Project, a series of eclectic concerts presented as part of the 2006 soundaXis festival of music and architecture, offered an elaborate five-day welcome to this rich literature for brass ensemble, animating some of the great architectural and acoustical masterpieces in the core of Toronto with a celebration of the music of Canada and its northern neighbours.

The Toronto Fanfare Project, a series of eclectic concerts presented as part of the 2006 soundaXis festival of music and architecture, offered an elaborate five-day welcome to this rich literature for brass ensemble, animating some of the great architectural and acoustical masterpieces in the core of Toronto with a celebration of the music of Canada and its northern neighbours

The Toronto Fanfare Project, a series of eclectic concerts presented as part of the 2006 soundaXis festival of music and architecture, offered an elaborate five-day welcome to this rich literature for brass ensemble, animating some of the great architectural and acoustical masterpieces in the core of Toronto with a celebration of the music of Canada and its northern neighbours.

The Toronto Fanfare Project, a series of eclectic concerts presented as part of the 2006 soundaXis festival of music and architecture, offered an elaborate five-day welcome to this rich literature for brass ensemble, animating some of the great architectural and acoustical masterpieces in the core of Toronto with a celebration of the music of Canada and its northern neighbours.

The Toronto Fanfare Project, a series of eclectic concerts presented as part of the 2006 soundaXis festival of music and architecture, offered an elaborate five-day welcome to this rich literature for brass ensemble, animating some of the great architectural and acoustical masterpieces in the core of Toronto with a celebration of the music of Canada and its northern neighbours.

Isfahan’s three brass quintets occupy different spatial positions throughout the performance. Co-ordination is provided by a leader sounding a seven-stroke motif on a slapstick or a drum.

The Toronto Fanfare Project, a series of eclectic concerts presented as part of the 2006 soundaXis festival of music and architecture, offered an elaborate five-day welcome to this rich literature for brass ensemble, animating some of the great architectural and acoustical masterpieces in the core of Toronto with a celebration of the music of Canada and its northern neighbours.

The Toronto Fanfare Project, a series of eclectic concerts presented as part of the 2006 soundaXis festival of music and architecture, offered an elaborate five-day welcome to this rich literature for brass ensemble, animating some of the great architectural and acoustical masterpieces in the core of Toronto with a celebration of the music of Canada and its northern neighbours.

As a young woman who works as a shoe-store clerk daydreams about shoe ownership on a grand scale, her inner reverie alternating with her rapid-fire recital of the romantically named stock of which she is taking inventory, Current makes use of his signature “slanted time” to suggest the character’s underlying neurosis.