Soundstreams

is a hub for new directions in music,

programming culturally provocative
concerts and festivals by weaving
together music and ideas from globally
diverse genres, artists and eras.

Founded by renowned oboist Lawrence Cherney STAFF

in 1982, Soundstreams has presented hun- Lawrence Cherney,

Artistic Director
dreds of unique and compelling concerts, from
intimate chamber music events to multi-choral Jennifer Winchester,
Director of Operations
spectaculars, operas, music-theatre works and
highly successful international festivals. A rec- Adriana Kraevska,
Production & Education
ognized national leader, Soundstreams is one
of the largest and most dynamic organizations Catherine Boudreau,
Marketing & Public Relations
of its kind in the world.
Andrea Cheng Baker,
Development
The programming, curated by Lawrence
Leonie Hentschel,
Cherney, focuses on music by living composers Community Outreach
with a special emphasis on Canadians and their
Sam Joyce,
international counterparts. Soundstreams reg- Touring
ularly commissions new works, some 155 since BOARD OF DIRECTORS
1982, contributing significantly to the Canadian Lois Lilienstein, C.M.,
D.H.L, President
musical legacy. Elaine Gold, Chair
Bernard Schiff, Secretary
Lawrence Smith, CA,
Soundstreams ignites collaborations and en- Treasurer
counters among the worlds finest composers, Andrea Alexander
Alan Convery
performers and their audiences. Our concerts Hy Sarick
are broadcast throughout the world through Robert Rottapel
Jim Doherty
CBC Radio Two, and the European Broadcasting Sean Howard
Union. Moreover, Soundstreams is constantly ADVISORS
developing fresh Community Outreach and Trevor Goodgoll, Marketing
Ian Alexander, Strategic
Education programs to engage and partner Planning
with community groups and audiences. Mary Cranston, Fundraising
Stan Van Zuylen, Education


Soundstreams presents
University Voices 2008
Nov 7, 2008 at 8 pm
Metropolitan United Church

Conductor
Maria Guinand

Choirs
University of Manitoba Singers

MacMillan Singers

University of Guelph Chamber Choir

The Laurier Singers

Calixa Lavalle Choir

Rehearsal pianist
Christopher Dawes

Presented in partnership with


Youth, Music, Passion!
Music of the Americas

Jos Evangelista (b.1943) O Quam Suavis Est

from Cantus Sacri

Claude Vivier (1948-1983) Jesus erbarme dich

Alberto Grau (b. 1937) Fecit Potentiam (World premiere,

commissioned by Soundstreams)

Carlos Alberto Pinto Fonseca Jubiab

(b. 1933)

Juan Gutierrez de Padilla Exsultate Iusti In Domino

(1590-1664)

Osvaldo Golijov (b.1960) Demos Gracias al Seor

from La Pasin Segn San Marcos
- Intermission -

Alberto Ginastera (1916-1983) O Vos Omnes Qui Transitis Per

Viam
First movement from Lamenta-
tions of Jeremiah

Ernani Henrique Chaves Aguiar Salmo 150

(b.1950)

R. Murray Schafer (b.1933) Three Hymns

from The Fall Into Light

Eric Whitacre (b.1970) Cloudburst

Alberto Grau (b.1937) Kasar Mie La Gaji


Maria Guinand
Conductor

Mara Guinand, choral conductor, Golijovs St. Mark s Passion, as a spe-

university professor and leader of cial project for the Bachs year. This
many choral projects both nationally perfomance received glowing press
and internationally, has developed an reviews and its recording by Haens-
intense musical career. sler Verlag was nominated for a Gram-
my award in 2002. In 2007 she re-
At present, she conducts three presti- corded this Passion with Deutsche
gious choirs in Venezuela: the Can- Gramophon. In 2006 she prepared
tora Alberto Grau, the Orfen Uni- the Schola Cantorum de Venezuela
versitario Simn Bolvar and the for the premiere of John Adams Op-
Schola Cantorum de Venezuela with era A Flowering Tree during the Festival
whom she has recorded and toured `New Crowned Hope` in Vienna, un-
extensively. As a conductor of the der the conductors baton and the
National Symphonic Choir of Vene- scene direction of Peter Sellars. She
zuela she collaborates closely with the has been the conductor of the Festi-
Simn Bolvar Symphony Youth Or- valensemble Choir during the Euro-
chestra since 1980 preparing the pean Music Festival from 2001-2004.
choirs for many conductors such as She is currently editor of the Musica
Rattle, Abbado, Rilling, Mata, Alcan- de Latinoamerica collection at Earth-
tara, Grau, Abreu, Penderecki, songs, music editorial house. In 1997
amongst others. As conductor of the she obtained the Kulturpreis of the
Polar Foundation Choir she has ac- InterNationes Foundation and in
tively contributed to the development 2000 the Robert Edler Preis fr Chor-
of choral music in private enterprises. musik. She was awarded the Servidor
Pblico del Ao 2007 of the Camara
During the European Music Festival de Comercio de Caracas.
organized by the Internationale
Bachakademie Stuttgart on Septem- As a choral promoter, she organizes
ber 2000, she premiered Osvaldo the activities of several National As-

sociations such as Schola Cantorum In 2006 she conducted Golijovs St.
of Caracas Foundation, Movimiento Marks Passion in the Barbican and the
Coral Cantemos Foundation, Bach Porto Theatre in February, Estvezs
Academy of Venezuela and the Na- Cantata Criolla and Golijovs Oceana
tional Academy for Gregorian Chant, in the Berkshire International Choral
and contributes to the permanent de- Festival in July, lectured and gave
velopment of centres of choral music masterclasses in Colombia, Bolivia,
for children and youth of low eco- Ecuador, Peru, Argentina, New Ze-
nomic resources in Venezuela and land, Canada and USA and toured
other Andean countries through the with the Cantoria Alberto Grau in
project Music for Social Action that Belgium and Spain.
is sponsored by the Andean Corpora-
tion Bank. She is also Vice-President She graduated from Bristol University
for Latin America of the Internation- (England) and studied choral con-
al Federation for Choral Music and ducting with Alberto Grau. She fur-
Professor at the Music Master Degree ther her conducting and musical edu-
of the University Simn Bolvar (Ca- cation with Helmuth Rilling, Luigi
racas) where she served as Dean for Agustoni and Johannes B. Goeschl.
four years. She served as Dean of the Music
Frequently invited as guest conductor School Jos Angel Lamas and of
in North and South America, Europe the Conservatory of Music Simn
and Asia of prestigious choirs, and as Bolvar, the main academic pro-
a lecturer in the World Symposia for gramme of the Foundation for Youth
Choral Music and the Conventions of and Children Orchestras in Venezue-
the American Choral Directors Asso- la, and also as member of the Execu-
ciation (ACDA), Ms. Guinand has tive Committe of the International
specialized in Latin American Choral Music Council of UNESCO.
Music of the XXth and XXIst centu-
ries.

Choirs

Calixa Lavalle Ensemble Laurier Singers

Lawrence Ewashko, Director Gerard Yun, Director

The Calixa Lavalle Ensemble is The 20 voice auditioned chamber

the premiere choral ensemble at the choir, Laurier Singers, was estab-
University of Ottawa. Each year, 26 lished in February, 2006, by Dr. Lee
students are chosen by audition to Willingham on a volunteer basis to
sing with this chamber choir. The en- provide enrichment opportunities for
semble was created in the 1981-1982 accomplished choral singers at WLU,
academic year by founding artistic and also to provide an ensemble that
director, Agnes Grossmann. Since can represent the university in nation-
then, the ensemble has performed in al and international events, and for re-
many concert venues throughout the cruitment purposes. The Laurier Sing-
Ottawa area. In 1997, with current ers had their debut concert on April
conductor and artistic director Lau- 2, 2006, and sang Carl Orffs Carmina
rence Ewashko at the helm, the group Burana in a collaborative concert at
toured Austria for ten days, perform- Torontos Royal Conservatory of Mu-
ing at venues such as the United Na- sic for the Carl Orff Society national
tions Headquarters and Vienna City music conference. They most recently
Hall. The Calixa Lavalle Ensemble have performed Martins Mass for Dou-
has participated by invitation in both ble Choir and Bach Motets.
the Inter-Varsity Choral Festival
(1999) and in University Voices 2000, University of Guelph
2004, 2006 and 2008. Last December
they presented a series of carols for the
Chamber Singers
Marta McCarthy, Director
illumination of the Christmas Lights
on parliament in the presence of the
The University of Guelph Chamber
Prime minister. This April they will
Singers is comprised of students and
be performing Bruckners Te Deum
alumni who specialize in fields as di-
with the combined choirs of the Uni-
verse as Veterinary Medicine, Inter-
versity of Ottawa and orchestra con-
national Development, Languages,
ducted by Professor David Currie.
Applied Sciences, and Music. In addi-
tion to performing at University func-
tions, the choir has been featured at
national events such as Podium 2002,
University Voices 2002, 2004, and
2006, and international festivals, such

as Festival 500 (2005) in St. Johns, ern Canada, Qubec and North Cen-
Newfoundland, and Kathaumixw tral USA. Since 1987 they have taken
International Choral Festival (2006) five concert tours to Europe, includ-
in Powell River, British Columbia. In ing Germany, Holland, Austria, Po-
2002, they recorded a CD entitled The land, Finland and Sweden, Switzer-
Bells of Peace in order to fundraise for land and Italy. They were the resident
War Child Canada. In the fall of 2005, choir at the International Bach Akad-
the choir joined the Elora Festival emie in Stuttgart, Germany and have
Singers for a conducting workshop participated in the international festi-
led by Noel Edison, and gave their vals in Marktoberdorf, Germany and
own concert at the Elora Festival in Czestochowa, Poland. Their last Eu-
July 2006. ropean Concert Tour to Ireland and
England was in 2004.
The University of
Manitoba Singers University of Toronto
Elroy Friesen, Director Macmillan Singers
Dr. Doreen Rao , Director
The last two decades have brought
the University of Manitoba Singers to The University of Toronto MacMil-
prominence as a performing ensem- lan Singers was founded in 1994 by
ble in Canada. This chamber choir Doreen Rao to celebrate the legacy
has appeared on numerous occasions of Sir Ernest MacMillan, an inspired
with Winnipegs leading professional performer and devoted teacher who
organizations. In addition, they have influenced every aspect of Canadas
performed and recorded Arvo Prts musical life. This award-winning en-
Litany with the Hilliard Ensemble and semble conducted by Doreen Rao
the Winnipeg Symphony Orchestra, regularly performs with the Toronto
and Glen Buhrs Ritchot Mass with the Symphony Orchestra under the direc-
Penderecki String Quartet. First per- tion of Peter Oundjian. The MacMil-
formances of new music also include lan Singers enjoy numerous collabo-
Canzoni Romane by Sid Robinovitch rations with Helmuth Rilling, Nexus,
- commissioned by the CBC and the the Elmer Iseler Singers and the Gry-
MCO (1999) Styx by Kancielli (2003), phon Trio. Recent seasons have in-
and Seid nchtern und wachet by Alfred cluded Festival performances of Bach
Schnittke (2004). Cantatas, Mozart C minor Mass,
The University Singers have placed Stravinsky Les Noces, and Bachs St.
first in the CBC Radio National Am- John Passion. In October 2008, the
ateur Choir Competitions, Chamber MacMillan Singers performed a se-
Choir Category. The Singers have lection of works as part of the 2008
toured extensively throughout West- Toronto Bach Festival.

Singers

Calixa Lavalle University of Guelph Byung Yoon Jim Jiang

Ensemble Chamber Singers Michael Dueck Hyuntak Lee
Soprano: Soprano: Nathan Dyck Ryo Matsozawa
Emilie De Baets Jennifer Gooch Darren Martens Sam Moffatt
Carolyn Beaudoin Victoria Miller Michael Schellenberg Mark Oracion
Irmgard Hechler Mary Parkinson
Melissa Leroux Faith Thompson Bass: Bass:
Erin Puttee Ben Campbell Stephen C. Boda
Alto: Scott Jones Scott Crocker
Alto: Tara McInerney Liam Kelso Kyle Cullen
Meghan MacDonald Christie Menzo Aaron Loeppky Benjamin Ho
Candace Cheung Shireen Mirshak Aran Matsuda Justin Loach
Susanna Doherty Kathy Peterson Nathan Poole Patrick Muray
Elise Heikklia Wendy Walsh Joseph Trefler
Jacqueline Tragwin Ken Yang
Tenor: University of Toronto
Tenor: Thomas Sharpe Macmillan Singers
Nathan Ball Michael Weersink Soprano:
Gennaro Busa Bass: Stephanie Boone
Gabriel Bouchard Majid Hassas-Rous Bree Callaghan
Fletcher Gailey-Snell Sam McLean Jelena Ciric
Mark Mohktar Thomas Rosendal Lauren Crowther
Jordan Scholl Eliza Jane Macewen
Bass: Johnson
Matthew Gartshore Kristen Pardell
Mark Wilkinson The University of Laurel Perkins
Dale Coburn Manitoba Singers Rachel Marie Pines
Ryan Hofman Soprano: Amy Nicole Salmers
Patrick Liu Janna Banman Sara Schabas
Christian Paquette Andrea Bellhouse Sarah Svendsen
Merina Dobson Chelsea Van Pelt
Melodie Langevin
Laurier Singers Rachel Stephens Alto:
Soprano: Kristin Procyk Kari Abraham
Jayne Hammond Elle Salvalaggio Eunseong Cho
Jennifer Capa Lynlee Wolstencroft Sylvia Chouljian
Lauren Smee Cait Wood Jenny Fan
Mei Hao
Alto: Alto: Kathleen Johnston
Christina Vincent Cassandra Chugh Julija Ann Krisciunas
Emily Bucher Sara Clefstad Christina Labriola
Victoria Hunter Robin Eder-Warren Melanie Lamoureux
Satu Ylanko Ashley Klassen Lynn McMurray
Suvi Ylanko Nicki Kirton Lindsay Anne Regan
Katie Nickford Steffanie Tam
Tenor: Sheena Rattai Anastasia Tchernikova
Eric Tanguy Susanne Reimer Jeanne Yuen
Daniel Turner
Ryan Peters Tenor: Tenor:
Matthew Wilhelm Nelson Bettencourt Henry Ban
Adam Dyjach Jan Nato Jin Young Choi
Conrad Siebert Andrew William Ivens

10
O Quam Suavis Est
Composer: Jos Evangelista
(Antifona ad Magnificat I Vesp. F. Corpus
Christi)

O quam suavis est, Domine, spiritu How gentle is, o lord, your spirit!
tuus!
qui ut dulcedinem tuam in filios To show your tenderness to your
demonstrares, sons,
pane suavissimo de caelo praestito, Descending from heaven like tender
bread,
escurientes reples bonis, You satiate the starving and make
fastidiosos divites dimittens inanes. fast the proud.

Jesus erbarme dich

Composer: Claude Vivier

Jesus erbarme dich. Jesus have mercy.

Fecit Potentiam
Composer: Alberto Grau
Magnificat Anima Mea (excerpt)

Fcit potntiam in bracchio suo; He has shown strength in his

arm;
dispstit suprbos he has dispersed proud
mnte crdis si. in spirit of their hearts.
Depsuit potntes de sde, He has deposed mighty from
seats,
et exaltvit hmiles. and exalted humble.
Esurintes implvit bnis; Hungry he has filled with good;
et divtes dimsit innes. and rich he has sent away empty.

Jubiab
Composer: Carlos Alberto Pinto Fonesca

Pai de Santo, ! Jubiab, High Priest, ! Jubiab.

[Pai de Santo measns: Head of the
ceremony; the priest that directs the
rituals at the terreiros (square).
! is an expression of wonder or
surprise.]
11
Pai de Santo, tem d de mim! High Priest, have mercy on me.
D-me um quebranto Give me an evil eye
para mal de am! for lost love!

L no morro do Cpa Negro There, at the hill of Capa Negro,

mora Jubiab! Lives Jubiab!
Pai de Santo, Pai de Bahia, High Priest, Father of Bahia,
meu Pai Jubiab! My father Jubiab!

Kumba, Kumba, makumb. Kumba, kumba, macumb. (Mac-

umba is a ritual.)
l no terreiro de Pai Jubiab, Oh! there at the square of Father
Jubiab,
Hoje festa de Oxal it is the festival of our Lord Oxal
macumba de Oxal! and the ritual of our Lord Oxal!

Edur demin lo nan y! [These are chants shouted by the

A umb kw J! Ok, ok, ok! feita (priestess) and the assembly.]
Iya rid gb afi d si mn lov
afi l si mn lrum.

mir rn wn rn wn -mi-r. [An onomatopoetic chant simulat-

ing the beads of a necklace that were
Tumbum, tumbum, Tumborumb, about to break.]
r j lia l a!
xikixikixikixic

Exsultte Iusti in Dmino

Composer: Juan Gutierrez de Padilla

Exsultte iusti in Dmino: Rejoice in the Lord, O ye righteous:

rectos decet collaudtio. for praise is comely for the upright.
Confitmini Dmino in cthera: Praise the Lord with harp:
in psaltrio decem sing unto him with psaltery and an
cordrum psllite illi. instrument of ten strings.
Cantte ei cnticum novum; Sing unto him with a new song;
bene psllite ei in vociferatine. play skillfully and with a loud noise.
Quia rectum est verbum Dmini; For the word of the Lord is right;
et mnia pera eius in fide. and all his works are done in truth.
Dliget misericrdiam et iudcium: He loveth righteousness and judg-
12
 ment:
misericrdia Dmini plena est the earth is full of the goodness of
terra. the Lord.
Verbo Dmini By the word of the Lord
caeli firmtisunt: were the heavens made:
et spritus oris eius and all the host of them by the
omins virtus erum. breath of his mouth.

Demos Gracias al Seor

Composer: Osvaldo Golijov
(Hymn composed from fragments of Psalms
113118)

Demos gracias al Seor We give thanks unto the Lord;

que su amor es eterno. because his mercy endureth forever.
Demos gracias al Seor We give thanks to the Lord
y alabemos su nombre, And glorify his name,
cantemos al Seor Praise we the Lord,
que su amor es eterno Whose goodness is eternal.
l es el Salvador. He is the Savior.
Aunque tiemble la tierra Even while the earth trembles
demos gracias al Seor Give thanks to the Lord,
que su amor es eterno For his goodness is eternal.
l es el Salvador, He is the Savior
l reina all en lo alto. That reigns in Heaven.
Cuando viene la muerte When death comes and captures me,
y me enreda en sus lazos, And I am held in its noose,
cuando me hallo preso When I am a prisoner
de miedo y dolor of fear and pain
y la angustia me alcanza and anguish touches me
yo le canto al Seor. I sing to the Lord.
Tiembla, tiembla tierra... Tremble, tremble, earth....
Aunque tiemble la tierra For though the earth trembles
y muerte viene a buscarme And death comes to find me
yo te canto Seor I sing to you, Lord.
alabemos al Seor We glorify the Lord.
cantamos, alabamos, We praised and glorified
te damos las gracias Seor. we gave thanks to the Lord..

13
O Vos Omnes Qui Transitis
Per Viam
First movement from The Lamentations of
Jeremiah
Composer: Alberto Ginastera

O vos omnes, O all ye

qui transitis per viam attendite, that pass by the way, attend,
Et videte si est dolor sicut dolor and see if there be any sorrow like
meus: unto my sorrow:
qoniam vindemiavit me for he has made a vintage of me,
ut locutus est Dominus as the Lord spoke
in die irae furoris sui. in the day of his fierce anger.

Vide Domine Behold, O Lord,

Vide Domine quoniam tribulor con- for I am in distress:
turbatus est venter meus, my bowels are troubled;
Vide Domine: subversum est
cormeum in memetipsa, my heart is turned within me;
Quoniam amaritudineplenasum: for I am full of bitterness.
Fotris interficit gladius, foris et Abroad the sword kills,
domi mors similis est. and at home there is likewise death.
Mors, mors, mors, mors. Death, death

Idcirc ego plorans, deducens Therefore do I weep, my eyes pour-

aquas: ing forth with water,
Quialonge factus est, because my comforter, who restores
Convertens animam meam: my soul, is far from me.
Factisunt, factisunt, My children are destroyed, because
Inimicus, inimicus, inimicus. the enemy prevails.
Persequeris inforore, et conteres
eos sub coelis
Domine, Domine, Domine Lord, Lord, Lord.

14
Salmo 150
Composer: Ernani Henrique Chaves Aguiar

Laudte Dminum in snctis jus: Praise the Lord in his sacred places,
Laudte um in firmamnto Praise him in the firmament of his
virttis jus. power.
Laudte um in virttibus jus: Praise him for his mighty acts,
Laudte um secndum Praise him according to his excellent
Multitdinem magnitdinis jus. greatness.
Laudte um in sno tbae: Praise him with the sound of the
trumpet,
Laudte um in psaltrio et ci- Praise him with the psaltery and the
thara. harp.
Laudte um in tmpano et chro: Praise him with the timbrel and the
dance,
Laudte um in chro et orgno. Praise him with strings and pipes.
Laudte um in cmbalis jubilati- Praise him with high-sounding cym-
nis: bals, Praise him with cymbals of joy.
Laudte um mnis spritus ludet Let everything that has breath praise
Dminum. the Lord!

Three Hymns
from The Fall into Light
Composer: R. Murray Schafer

First Hymn through all the aeons of darkness.

Holy is God, who is before the first Holy is God, who lights our path
beginning. through confusion to knowledge.
Holy is God, the all powerful. Holy is God, who gives us the
Holy is God, who wills to be known. strength to resist the archons, who
Holy is God, who created all life. would hold us back from the ple-
Holy is God, who is beyond aeons. roma, who creates beauty and truth
Holy is God, whose strength is above in both darkness and light.
all dominion. Holy is God, who allows my light (to
Holy is God, who surpasses all shine) to assist others on the path of
praise. life.
Holy is God, who throws the stars
Second Hymn into the sky, and fire into the head.
Holy is God, who gave us all a Holy is God.
soul of light to illuminate the path

15
Third Hymn O light that is in me praise light!
Be opened o earth, I have seen that which I seek,
for I would speak of the one who is I rejoice in the joy of mind,
all, I rejoice in corporal light,
who fixed the earth and the heavens I rejoice in the one who is all!
who gave command to the fire, God is! God was! God shall be!
and made sweet waters flow. God is!
O good that is in me praise the good! By Thy will I was born and shall be
O life that is in me praise life! reborn.

Cloudburst
Composer: Eric Whitacre and Octavio Paz

La Iluvia The rain.

Ojos de agua de sombra, Eyes of shadow-water,

ojos de agua de pozo, eyes of well-water,
ojos de agua de sueo. eyes of dream-water.

Soles azules, verdes remolinos, Blue suns, green whirlwinds,

picos de luz que abren astros birdbeaks of light pecking open
como granadas. pomegranate stars.

Dime, tierra quemada, no hay But tell me, burnt earth, is there no
agua? water?
hay slo sangre, solo hay polvo, Only blood, only dust,
solo pisadas de pies desnudos sobre Only naked footsteps on the thorns?
la espina?

La Iluvia despierta The rain awakens

Hay que dormer con los ojos abi- We must sleep with open eyes,
ertos,
hay que soar con les manos, we must dream with our hands,
soemos sueos activos de rio bus- we must dream the dreams of a river
cando su cauce, seeking its course,
sueos de sol soando sus mundos, of the sun dreaming its worlds,
hay que sonar en voz alta, we must dream aloud,
hay que cantar hasta que el canto we must sing till the song puts forth
eche roots,
races, tronco, ramas, pjaros, trunk, branches, birds, stars,

16
astros,
hay que desenterrar la palabra we must find the lost word,
perdida,
recordar lo que dicen la sangre y la and remember what was the blood,
marea, the tides,
le tierra y el cuerpo, the earth, and the body say,
volver al punto de partida and return to the point of depar-
ture

Kasar Mie La Gaji

Composer: Alberto Grau

Kasar mie la gaji. The earth is tired.

Performances by
University Voices 2008
O quam Suavis Est
is sung by the will be presented
Calixa Lavalle Ensemble in Montreal
and the Laurier Singers in partnership with

Jesus erbarme dich on November 9, 2008

is performed by the at Eglise Saint-Jean-Baptiste.
MacMillan Singers and the
University of Manitoba Singers

Fecit Potentiam
is sung by the MacMillan Singers.

Jubiab
is performed by the University of
Manitoba Singers and the University
of Guelph Chamber Choir

All other pieces are performed by all

choirs.

17
Composers Biographies he has been a professor at the Uni-
versity of Montreal where he created
the Balinese Gamelan Workshop in
Aguiar, Errani 1987. He has received several awards
Ernani Henrique Chaves Aguiar (born and numerous commissions, among
30 August 1950 in Petrpolis, Rio de others, from Itinraire (Paris), the
Janeiro) is a Brazilian composer, cho- Kronos Quartet, the Groupe vocal
ral conductor, and musicologist. de France, the SMCQ and the CBC.
A scholarship winner to the Argentine His works have been performed in
Mozarteum, Aguiar studied under Canada, the U.S., Europe, Asia and
various composers and conductors in Australia by groups such as Ensemble
South America and later in Europe, Modern (Frankfurt), the Nieuw En-
including Sergiu Celibidache. As a semble (Amsterdam), Music Projects
musicologist, he has specialized in the (London), the Orchestre philharmo-
revising, editing, and revival of works nique de Radio-France, the Montreal
by composers of the 18th century Symphony Orchestra, I Musici de
Minas Gerais School. He has writ- Montral, and the Nouvel Ensemble
ten a number of instrumental pieces, Moderne (Montreal). Between 1993
but his most famous works are his and 1995 he has been composer in
choral pieces, such as the fiery Salmo residence with the Montreal Sympho-
150 (1993). He is currently a profes- ny Orchestra.
sor of music at the University of Rio
de Janeiro, a fellow of the Villa-Lobos
Institute, and a member of the Aca- Ginastera, Alberto
demia Brasileira de Msica. Argentine composer Alberto Ginas-
tera (1916-1983) received important
awards throughout his life, such as the
Evangelista, Jos Argentine School Song Award, four
Evangelista was born in Valencia national prizes, three municipal priz-
(Spain) in 1943. Settling in Montreal es, Bicentennial Cinzano Award and
in 1970, he studied composition with the National Fund for the Arts An-
Andr Prvost and Bruce Mather. nual Award. He and other Argentine
Jos Evangelista has explored ways composers founded the Composers
of making a music based exclusively League. He also founded the La Plata
on melody. Hence he has developed Music and Performing Arts Conser-
a heterophonic writing, in which the vatory and the Latin American Center
melodic line generates echoes of it- for Advanced Music Studies at the Di
self and creates an illusion of polyph- Tella Institute, in Buenos Aires. He
ony. His music draws its roots from was a Member of the Conseil Inter-
his Spanish origins, the Indonesian national de la Musique (UNESCO),
gamelan, the Western avant-garde Member of the National Academy
and that of modal musics. Since 1979
18
of Fine Arts in Argentina, Honorary Pennsylvania.
Member of the American Academy of In the early 90s Golijov began to
Arts and Sciences, Honorary Mem- work closely with two string quartets,
ber of the School of Music Sciences the St Lawrence and the Kronos. In
and Arts (Chile Nation al University), 2002, EMI released Yiddishbbuk, a
Member of the Chilean Composers Grammy-nominated CD of Golijovs
Association, and Honorary Member chamber music, celebrating ten years
of the Brazilian Music Academy. He of collaboration with the St Lawrence
was the Dean and Honorary Profes- String Quartet. In 2000, the premiere
sor at the School of Music Sciences of Golijovs St. Mark Passion took the
and Arts (Argentine Catholic Uni- music world by storm. Commissioned
versity), and Professor at the La Plata by Helmuth Rilling for the Europe-
University. In 1968 Yale University an Music Festival, to commemorate
awarded him an honorary doctorate. the 250th anniversary of J.S. Bachs
Ginasteras style can be divided into death, the piece featured the Schola
three periods that he called Objective Cantorum of Caracas, with the Or-
Nationalism, Subjective Nationalism, questa La Pasin, all conducted by
and Neo-Expressionism. In his early Maria Guinand. The CD of the pre-
works Ginastera uses Argentine folk miere of this work received Grammy
and popular elements. From 1948 on and Latin Grammy nominations in
he starts to use more advanced com- 2002. In 2006 Deutsche Grammo-
posing techniques. He explains his phon released the recording of his
last period as follows: There are no opera Ainadamar. The record earned
more folk melodic or rhythmic cells, two Grammy awards: for best opera
nor is there any symbolism. There recording, and best contemporary
are, however, constant Argentine composition.
elements, such as strong, obsessive In January and February 2006 Lincoln
rhythms, meditative adagios suggest- Center presented a sold out festival
ing the quietness of the Pampas; mag- called The Passion of Osvaldo Goli-
ic, mysterious sounds reminding the jov, featuring multiple performances
cryptic nature of the country. of his major works. He is currently
co-composer-in-residence, together
Golijov, Osvaldo with Marc-Anthony Turnage, at the
Osvaldo Golijov grew up in an East- Chicago Symphony. Golijov is Loyola
ern European Jewish household in La Professor of Music at College of the
Plata, Argentina. In 1983 he moved to Holy Cross in Worcester, MA, where
Israel, where he studied at the Jeru- he has taught since 1991.
salem Rubin Academy. Upon moving Recently completed compositions
to the United States in 1986, Golijov include the soundtrack for Francis
earned his Ph.D. at the University of Ford Coppolas Youth Without Youth
(released by Deutsche Grammophon)
19
and Azul, a cello concerto for Yo-Yo dral as singer and co-maestro to the
Ma and the Boston Symphony. Future aging Gaspar Fernndes; seven years
works include a new opera, commis- later he became full maestro. Much
sioned by the Metropolitan Opera. of his sacred music in Latin is for
double-choir, and favors two equal
Grau, Alberto (b. 1937) voice-dispositions: SATB-SATB. A
Composer, director, and teacher, consummate master of polyphonic
Alberto Grau is one of the leading techniques, he employed all devices
musical personalities in the history of counterpoint with skill and grace.
of contemporary Venezuelan music. The majority of his vast output (over
In 1967 he funded the Schola Canto- 700 pieces survive) are sacred motets.
rum de Caracas, a prestigious choral
group which was awarded first prize Pinto Fonseca, Carlos Alberto
at the Concurso Internacional Guido Carlos Alberto Pinto Fonseca (b.1933)
DArezzo in Italy, in 1974. He has par- is a Brazilian musician. He was born
ticipated in many international choral in Belo Horizonte, in the state of
events, as a performer, a guest con- Minas Gerais.
ductor and as an adjudicator at festival Pinto Fonseca has had a very success-
competitions in Europe and North ful career as a conductor. He has won
America as well as in Latin America. several conducting competitions, not
only in Brazil, but also in Argentina
Graus works display the distinct char- and Italy. Under his direction, the
acteristics found in Venezuelan music. Madrigal Arts Nova toured in South
His output also exhibits international America and Europe and achieved in-
influences, using texts associated with ternational recognition as one of the
social and environmental events and best Brazilian Choral Groups. Pinto
concerns including literary and mu- Fonseca is well known for his ar-
sical influences of other nations and rangements of folk music. The Missa
cultures. By Julie Yu Afro-Brasilieria (1976) won the Best
Vocal Work prize of the Associao
de Padilla, Juan Gutirrez dos Crticos de So Paulo, and later
Born in Mlaga in 1590, Padilla emi- became his most popular choral work
grated to Mexico in 1622. Like virtu- in the United States.
ally all composers of the time, Padilla
received his earliest music training in Schafer, R.Murray
the choir of the local cathedral. At R. Murray Schafer has achieved an
the age of 23 he was maestro of the international reputation as a com-
Cathedral of Jerez; three years later, poser, an educator, environmentalist,
of Cdiz Cathedral. By October of scholar and visual artist. Born in Sar-
1622 he was already at Puebla Cathe- nia, Ontario, in 1933, he was raised in
20
Toronto. Vivier, Claude
As the father of acoustic ecology The music of Claude Vivier (1948-
Schafer has been concerned about the 1983) is a reflection of his personal
damaging effects of noise on people, life. The themes of his compositions
especially dwellers of the sonic sew- were inspired by his unknown fam-
ers of the city. Of the various publica- ily origins, his search for his mother,
tions Schafer released after his work his religious vocation, his homosexu-
with the World Soundscape Project, ality and even his premature death.
the most important is The Tuning of the During his brief career he composed
World (1977) where he summarizes his forty-nine works. Born in Montreal of
soundscape research, philosophies, unknown parents, Vivier was adopted
and theories. at the age of three. He studied compo-
Schafers search for a hi-fidelity sition and piano at the Conservatoire
soundscape led to his move to an de musique de Montral. In 1971, as
Ontario farmhouse, which then in- recipient of a Canada Arts Council
spired a series of natural-environ- award, Vivier left to study in Europe.
ment works. Schafers dramatic Back in Canada, he taught at the Uni-
works employ music and theatre in a versity of Ottawa and was granted
manner which he calls the theatre of several commissions, among others by
confluence (a kind of Gesamtkunst- The Canadian Music Awards and the
werk reflecting his urge to explore Socit de musique contemporaine
the relationships between the arts). du Qubec (Liebesgedichte). After a
His diversity belies generalizations of long trip through Asia he developed a
style; his work could be described as a new style characterized by the voice,
synthesis of 20th-century avant-garde by words sung in a language invented
techniques with the 19th-century by the composer, by striking melodies
romantic spirit. He received many and harmonized by complex overtone
awards such as the Canadian Music series. His outstanding development
Councils first Composer of the Year as a composer earned Vivier the title
award in 1977 and the first Jules L- of Composer of the Year in 1981,
ger Prize for New Chamber Music awarded by the Canadian Music
in 1977. Recent awards include the Council. Benefitting once again from
Molson Award and the Glenn Gould a Canada Council grant, he settled in
Prize. Schafer holds honourary doc- Paris, where he composed Trois Airs
torates from universities in Canada, pour un opra imaginaire, a piece that em-
France and Argentina. Schafer has his bodies his mature style. His last work
own publishing house, Arcana, where is the unfinished Glaubst du an die Un-
his entire oeuvre may be investigated. sterblichkeit der Seele (Do you believe in the
More information can be found on immortality of the soul ) whose thematic
www.patria.org. development converges in a dramat-

21
ic way with the violent death of the Britain, the London Symphony Or-
composer. chestra and Chorus, and an oratorio
After Jaco Mijnheer, 1993 celebrating the opening of the new
Long Center for the Performing Arts
Whitacre, Eric in Austin, TX.
An accomplished composer, conduc- Most recently, Whitacre has received
tor and lecturer, Eric Whitacre has acclaim for Paradise Lost: Shadows and
quickly become one of the most pop- Wings, a musical combining trance,
ular and performed composers of his ambient and techno electronica with
generation. choral, cinematic, and operatic tradi-
Though he had received no formal tions. This musical gained the ASCAP
training before the age of 18, his first Harold Arlen award, the Richard Rod-
experiences singing in college choir gers Award for most promising musi-
changed his life, and he completed cal theater composer and 10 nomina-
his first concert work, Go, Lovely, Rose, tions at the 2007 Los Angeles Stage
at the age of 21. Eric went on to the Alliance Ovation Awards, including
Juilliard School, earning his Master of one for Best World Premiere Musical.
Music degree and studying with com-
poser John Corigliano.
To date, Whitacres published works Notes on the pieces
have received thousands of per-
formances and have sold well over O quam suavis est
750,000 copies worldwide. He has These three choral pieces on Latin
received composition awards from texts were composed in 1986-87. The
the Barlow International Compo- first and the third movements use a
sition Competition, the American heterophonic writing: the four voices
Choral Directors Association and simultaneously follow the same me-
the American Composers Forum. In lodic line but introducing small or-
2001, Whitacre became the youngest namental changes. The second move-
recipient ever awarded the coveted ment is based on two-note chords
Raymond C. Brock commission by which yield an ambiguous tonality.
the American Choral Directors As- Jos Evangelista
sociation.
As a conductor, Whitacre has ap-
peared with hundreds of professional
Jesus, erbarme dich
Sigh! Both the melody and harmony
and educational ensembles through-
of Jesus erbarme dich ( Jesus have mercy on
out the world.
me) are based on the musical sigh, a
Upcoming commissions include
descending motive found in music for
works for The Kings Singers with
a number of centuries now. Viviers
the National Youth Choir of Great
short piece is both disquieting and
22
engaging. A simple interval echoes macumba (ritual) ceremony of the
the naivety of the text, as Jesus have Camdombl people, afrobrazilians
mercy is repeated and exchanged be- who emigrated mostly from the cur-
tween soloist and choir. rent countries of Nigeria and Benin.
Viviers mysticism is very much a part The High Priest Father Jubiab pre-
of this work from 1973, his taste for sides over the ceremony at the ter-
ritual still strongly linked to Catholic reiros (town square) where the feita
dogma more than eight years after he (Priestess) and the assembly chant,
was refused entry into the priesthood dance, and shout amidst the sounds
that he believed to be his vocation. of drums, cowbells and rattles.
This kyrie of sorts represents a bridge
to a fixed ritualthe Roman Catholic Exsultate Iusti in Domino
massfrom Viviers personal rituals Maria Guinand writes: This compo-
that he worked out in music. sition belongs to the wonderful reper-
By Martine Rhaume toire of the Mexican Baroque. Written
in a two choir format, the piece uses a
Fecit Potentiam clear antiphonal language as well as a
Alberto Grau was commissioned to clear contrapuntal writing.
compose this piece, in which part of Stylistically, Padillas hallmarks in-
the text of the Magnificat has been clude demonstrating mood changes
used. This composition has a great by varying rhythmic speed, rapid har-
strength, presented through the rhyth- monic change as frequently as every
mic and colorful language, typical of beat, providing dissonance through
Graus music, hence reinforcing the the use of a single note being sustained
texts dimension. He performs feats beyond the chord or in anticipation of
with his arm: and has scattered the the next, and with unexpected meter
proud in their conceit, casting down changes.
the mighty from their thrones, and
lifting up the lowly, he has filled the Demos Gracias
hungry with good things and sent the Interview excerpts from a Conversa-
rich away empty. He has come to the tion between Osvaldo Golijov and
aid of his servant Israel, to remember David Harrington that was used as
his promise of mercy. The promise program notes at the world premiere.
made to our ancestors, to Abraham Osvaldo: () The main thing in this
and his children for ever. Passion is to present a dark Jesus, and
not a pale European Jesus. Its going
Jubiab to be about Jesus last days on earth
Jubiab (1963) is a piece which recre- seen through the Latin American
ates the dense atmosphere of mystery experience and what it implies. Its
and magic that occurs during the something that I have to do in the
23
sense that if you are a Jewish kid grow- tional religion being the best and the
ing up in an officially Catholic country worst. These priests lived in the slums
with all your friends going to Mass, you with the poor and were being killed or
want to understand that - luckily being disappeared, which is the same thing,
a composer allows me to. I need to un- while at the same time you would see
derstand why so many people acted the a televised mass with the chief of the
way they did when I was growing up in Argentinean junta, Videla, kneeling be-
Argentina - I really dont understand, fore the Archbishop and receiving his
and I need to. blessing. I remember walking over dead
What I want to do is to relate the Pas- bodies on the way to school and think-
sion to icons of the history of Latin ing - Ok, this is how life is.
America. For instance, there are some David: What is the instrumentation of
similarities between the lives of Jesus the Passion?
and Che Guevara. When Jesus remains Osvaldo: The instrumentation is main-
silent in front of all the insults and the ly voices and percussion. There is a very
spitting and throwing stones, he la- strong tradition that news or stories
ments and cannot believe that his own are told by voices and drums in Cuba
followers will leave him, but at the same and Bahia, Brazil, the Latin geographi-
time says but thats how its written. cal centers of my Passion. This musical
Hes writing his own death sentence ba- tradition comes from Africa, you know
sically. I have read extracts of the diaries - and thats how this Passion is being
that Che Guevara wrote shortly before told - mainly by voices and drums. The
he was killed - he knew he was starving voices represent the people who dont
- he knew he would die - but he still had understand, who are in fear, and Jesus
the courage to write how it would be himself who understands but also fears
- and thats how it was. When he died, and then doesnt fear.
the same people - the same people who Every section is based on an actual piece
betrayed him to the CIA and to the Bo- or an actual way of singing. I dont want
livian soldiers, some peasants, went to to make it a political or social pamphlet
cut locks of his hair as relics. - I want to do something that tran-
And the big thing about Che is that he scends that label, not to make it simply
looked like Jesus - I mean he looked like reflect what Latin America is today.
Jesus the God - and then his death pho- For instance, lets take the example of
tograph looks like the crucified Jesus. Picassos Guernica. He painted it in
David: Is there any relationship that response to the savage bombing of a
you can think of between your early village. Picasso did three great things
years and this Passion? - first, rather than paint the surface re-
Osvaldo: Yes, there is a relationship ality, he found symbols that went to the
because I knew of low- ranking priests core of that reality better than the real-
who tried to do what Jesus did - this ity itself. Do you remember that horse
is again about Christianity or institu- in Guernica? Sometimes a flamen-
24
co song or a rhumba in my Passion suffering here.
would be like that horse. You have
to find the right symbol like Picasso Salmo 150
found the horse. The second stage is Salmo 150 features rhythmic back-
an act of cruelty - in Guernica Pi- grounds with very rapid articulations.
casso twists the neck of the horse into The format of Salmo 150, in which
an unnatural position in order to ex- one voice sings the melody to rhyth-
press the utmost pain. So the compo- mic chordal accompaniment by the
sition must transform the symbol in a other voices, is reminiscent of works
forceful way. Thats the second stage. of Portuguese writers such as Manuel
And the third stage is when you oblit- Oltra. This particular piece has be-
erate part of that symbol for the sake come a super nova in the choral
of the greater composition. I treated repertoire, receiving many perfor-
each of these sections like Picassos mances throughout the country and
horse - transforming them until they the world.
acquired the maximum expressivity Maria Guinand writes: This Salmo
and then inserted them into the gen- 150 is very characteristic of Aguiars
eral composition. style which is very rhythmic with rap-
id articulations.
Lamentations of Jeremiah
Ginastera wrote these Lamentations Three Hymns
while he was in the USA in 1946. Emo- The hymns have been extracted from
tionally expressive, powerful pieces, my large-scale choral oratorio The Fall
they bring on comparisons to works Into Light, a work drawing on texts
of other composers like Stravinsky from Gnostic and Hermetic sources,
or Bartk. Ginasteras vocal lines are though often with modifications and
well crafted, his harmony flexibly dia- personal reflections.
tonic, his rhythmic sense keen. The First Hymn comes from the
Notably, Ginastera does not set these Divine Poimandres of Hermes Tris-
Bible verses in order. In fact, this megistos (Thrice-Great Hermes), who
disorder in the first and third move- was believed by the Greeks to be the
ments, to evoke specific meanings, inventor of writing and who thus cor-
may be a clue that we are to read in responded to the Egyptian god Toth.
them the despair and anger of the po- The Hermetic writings date from
litical exile. The first movement takes the middle of the first century A.D.
words that, in English, are probably to the end of the third. The Aeons,
best known from Hndels Messiah: mentioned in the text, were spirits or
behold and see if there be any sor- spheres of being that were believed by
row like unto my sorrow. Ginasteras the Gnostics to emanate from God.
song is furious; no room for passive The Second Hymn extends the theme
25
of the First Hymn. While it comes only 22. It is written for eight part
close to Gnostic philosophy, it is choir, accompanied by piano and
largely a personal invention, particu- percussion. The text is from Octavio
larly in the assertion that beauty and Pazs poem El Cntaro Roto (The Broken
truth can exist in darkness as well as Water-Jug), adapted by Whitacre.
light. The Archons in Gnosticism are Cloudburst was nominated for a 2007
world governing powers created by Grammy Award in best Choral Per-
Demiurge to entrap the soul and pre- formance.
vent it from returning to the pleroma,
that is, the fullness of the Godhead. Kasar Mie La Gaji
The text of the Third Hymn comes The inhabitants of the African Sahel
from Libellus XIII of the Corpus say: Kasar mie la gaji, The earth is
Hermeticum, but has been rear- tired (worn out). (Sahel is Arabic for
ranged, and some new material has shore it is the southern boundary
been added. of the Sahara desert, which is likened
By R.Murray Schafer to a sea.)
The composer Alberto Grau, leader
Cloudburst of the Venezuelan Choral Movement,
The cloudburst is a ceremony, a cele- has written this piece, joining the great
bration of the unleashed kinetic ener- international campaign in defense of
gy in all things. The mood throughout THE LAND and to raise awareness
is reverent, meditative and centered. on the environmental drama. He
This does not imply solemn or calm; composed this piece creatively and
it simply means the performer must using eurhythmic elements to also cry
take the spiritual journey with total out for respect of the land.
respect for the power of the water and
profundity.
As the Cloudburst begins, the hand-
bells (they should be hidden from
the audience until this moment, and
placed so that their entrances sound
from all sides of the choir) become
the first raindrops. Each handbell
player must be unified and deliber-
ate with their ringing motion as the
visual action will be as important as
the sound.
Cloudburst is one of Eric Whitacres
most famous compositions. It dates
from 1992, when the composer was

26
Soundstreams Presents
Salon 21
A Salon for the 21st Century
Meet and Greet from 7 pm
Salon begins at 7.30 pm
At the Bata Shoe Museum
327 Bloor Street West

FREE ADMISSION

Tuesday, Nov 18, 2008 Wednesday, May 27, 2009

A fascinating portrait of composer Experience extraordinary medieval
and mystic Arvo Prt instrument s and music and their role in The
Featuring Glenn Buhr, composer, pianist and Childrens Crusade.
professor at Wilfrid Laurier University. With David Fallis from the Toronto Consort,
conductor.
Wednesday, Jan 28, 2009
What on earth is New Canadian Wednesday, Jun 3, 2009
choral music? Explore the exciting medieval cul-
Moderator: Robert Cooper, former CBC Radio tural landscape.
2 producer, Artistic Director and conductor of
several prestigious choirs Wednesday, Jun 24, 2009
Featuring Canadian composers from all genera-
tions. MMPP - Minimal Music Patio
Party
Wednesday, Feb 25, 2009 Featuring Russell Hartenberger, percussionist,
member of Nexus and the Steve Reich ensemble
Love Songs and professor at University of Toronto.
Bring us your favorite Love song. Sing it your-
self or bring a recording.
We bring Monteverdis, Ravels, Dbussys, Terrific Toes Tickets a pair of
Viviers love songs. tickets for an upcoming Sound-
streams concert will be awarded at
Wednesday, Mar 25, 2009 each Salon 21 to the most sensa-
Pimooteewin The Journey tional pair of shoes!
The magical first Cree opera is going on tour.
Featuring Michael Greyeyes, choreographer,
dancer, actor and director of Pimooteewin The Salon (definition)
Journey. A salon is a gathering of curious individuals, to
amuse, to please and educate through conversa-
Wednesday, Apr 29, 2009 tion and readings.
The Childrens Crusade in Canada ,
A new opera and world premiere by R. Murray Discover new music share ideas
Schafer.
Featuring R. Murray Schafer and Eleanor relax make new friends
James, director of The Childrens Crusade.

27
Soundstreams Education
Young Artist Overtures
The Young Artist Overtures feature
performances and compositions by
talented student artists prior to
Soundstreams concerts.

Included in the price of your ticket.

Friday, November 7, 2008 @ 7pm

Metropolitan United Church
Soundstreams Canada features the wonderful Cawthra Park Chamber
Choir in our first Young Artist Overture of this season.

Thursday, November 20, 2008 @ 7pm

St. Annes Anglican Church
The accomplished University of Toronto Schools chamber groups
perform Paul Frehners Quarks Tropes piano trio and works by Arvo
Prt as well as other 20th century composers.

Tuesday, March 3, 2009 @ 7pm

Jane Mallett Theatre, St. Lawrence Centre for the Arts
A special presentation, featuring new compositions written by University
student composers from across Ontario and Qubec on the theme of
French Canada.

Young Artist Overtures are part of Soundstreams Canadas Education Pro-

gram. For more information, please visit www.soundstreams.ca or contact
Adriana Kraevska, adrianak@soundstreams.ca

Made possible by

28
Soundstreams Canada acknowledges with thanks
the generous support of the following:
Government support

Corporate sponsorship

Lead Education Sponsor

Foundation support

Strategic Initiative

fondation
O N TA R I O A R T S

foundation D E S A R T S D E L O N T A R I O

Julie-Jiggs Foundation The EJLB Foundation

Lloyd Carr Harris Foundation The McLean Foundation
The Koerner Foundation The Catherine and Maxwell
Hal Jackman Foundation Meighen Foundation
John D. Mckellar Foundation The George Lunan Foundation
The Laidlaw Foundation
29
Donors

Karen Ages Dorothy Moss Special thanks to our

Robert Aitken David Olds
Andrea Alexander Jane Palmer
volunteers:
Monica Armour Bernard Papernick
Jonathan Bae
Nicholas Armour Amy Parker
Micky Fraterman
James Baillie Dan Perlitz
Carrie Grant
Patricia Baranek Walter Pitman
Amanda Hawkshaw
John Beckwith Cyril Press
Maria Kaushansky
R. S. Beckwith Janice Price (Luminato)
Alanna Lee
Tamara Bernstein Tim & Patti Purves
Allisa Mohammed
Elisabeth Bihl Eldon Rathburn
Anna Plugina
Fran Bleviss Harold & Erna Redekopp
Harley Price
Norah Bolton Dr. Robert Rottapel
Victor Thom
John Burge Sid Saini
Alex White
Paul Caston William Samarin
Maureen Whitehead
Ka Nin Chan& Hy and Judy Sarick
Danny Winchester
Alice Ho Sam Sarick
Rebecca Ziemann
Brian Cherney Ann & Ezra Schabas
Lawrence & Bernard Schiff
Linda Cherney Tama Soble and Hart
Max Cherney Schwartz
Adrienne Clarkson & Gwendolyn Setterfield
John Ralston Saul Anita Shir-Jacob
Elaine Clarfield Gitalis Lawrence & Judy Siegel
Susan Cohen Larry and Donna Smith
Daniel Cooper Peter & Barbara Smith
Austin Clarkson Tama Soble
Frank Delling Barbara Chilcott Somers
Tom Diamond Ann Southam
James Doherty Harvey & Leslie
Kyla Eaglesham Starkman
Gail Einarson-McCleery Ben Steinberg
Jos Evangelista Jini Stolk
Karen Fejer Vicki St. Pierre
Helena Fine Wayne Strongman
David Fisher Dena Taylor
Alison Fleming Barbara Thompson
Marcel Fuhrer George Ullmann
Margaret Genovese Mary Vaarsi
Dr. Elaine Gold Stan Van Zuylen
Nora Gold Lynn Verhoeff
Tony Ianno Charis Wahl
Jennifer Jenkins Jennifer Waring
Rosalyn Katz Kara & Chris Waters
Charles Lindsey Daniel Weinzweig
Margaret Lyons Leda Westbrook
Stephanie MacLeod J & D Winchester
Richard Marsella Mr. & Mrs. Stanley
Lois McDonald Witkin
Micheline McKay Fred and Joyce Zemans
Charles Maurer Marcia Zuker
Roger D. Moore

30
 Soundstreams continued success is thanks to its donors.
When you donate to Sounstreams, you make a vital contribution to the
future of new music in Canada.
Here are the ways that you can make a difference:
Commissioning new music from Canadian composers
Fostering Canadas best performers
Encouraging youth and community engagement and education
Supporting international cultural exchange
Creating a legacy of extraordinary Canadian music
For more information on ways that you can support new music in Canada,
please contact Andrea Cheng Baker, Development Coordinator at 416-
504-1282, or e-mail andreab@soundstreams.ca. You can also donate
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