Formarchimage (in 5 movements)
Sensational Revolution in Medicine (in 5 movements)
Wildfruits 3 - Chestnuts
Breathe on Me
Catalogue de bombes occidentales
Six Apparitions de Lénine sur un piano
Frank O. Lunaire #10 – “Raub”
Originally from White Rock, British Columbia, Canadian composer Howard Bashaw is a graduate of the University of British Columbia (DMA, 1989). He is currently Professor of Music at the University of Alberta where he teaches composition, orchestration, theory and analysis. He has also taught at the University of British Columbia and at the Université Canadienne en France.
A composer in the acoustic medium, Bashaw has composed for a range of diverse ensembles including the Hard Rubber Orchestra, Vancouver New Music, New Music Concerts, Société de musique contemporaine du Québec, Duo Kovalis, East-West Quartet, Standing Wave, Edmonton Symphony Orchestra, Hammerhead Consort, Now Age Orchestra, Duo Majoya, Continuum Ensemble (London), and the Augustana Choir. Included among the performers featured in his works for chamber and large ensembles are Cameron Wilson (violin), Allen Stiles (piano), Roger Admiral (piano), Philip Hornsey (percussion), Trevor Brandenburg (percussion), Yan Sallafranque (tuba), Alain Trudel (trombone), William Street (saxophone), Russell Whitehead (trumpet), Dennis Miller (tuba), Ken Read (trombone), Kathleen Corcoran (soprano), Douglas Finch (piano), Tatjana Kukoc (guitar) and Niek de Groot (double bass). While the piano is found in many of Bashaw’s works for ensemble, he has also composed for solo piano - with first performances given by Roger Admiral, Corey Hamm, Barbara Pritchard, Haley Simons and Marc Couroux. Selected by the performers, Bashaw’s piano music has occurred in national and international piano performance competitions. CD releases include: Hard Rubber, Hard Elastic (2008) Form Archimage (2004) and BASHAW (2000). Bashaw has received commissions through the Canada Council for the Arts, CBC Radio Music, and the Alberta Foundation for the Arts.
Gordon Fitzell is a Winnipeg-based composer, performer, producer and concert presenter. His music has been performed across Canada and at international festivals including Festival Synthèse Bourges (France), the Darmstadt Internationale Ferienkurse für Neue Musik (Germany), the ISCM World New Music Days (Sweden), the Tanglewood Music Festival (USA), and the International Sound Art Festival (Mexico). He has received awards and acknowledgements for his compositions from various organizations including the SOCAN Foundation, CBC Radio, Vancouver New Music, and the National Academy of Recording Arts & Sciences (USA).
In 2009 his chamber work violence was performed by Norwegian group BIT20 at the International Society for Contemporary Music (ISCM) World New Music Days in Sweden. The work has also been performed by the Plexoos Ensemble (Edmonton), Sonic Generator (Atlanta), and eighth blackbird (Chicago). A recording of the work appears on eighth blackbird’s Grammy-winning album strange imaginary animals, which also features Fitzell as co-producer and live electronics artist.
Recent compositions include works for Montreal’s Alizé and Ensemble contemporain de Montréal, the Lisbon Architecture Triennale, pianists Roger Admiral and Corey Hamm, and Winnipeg’s Harrington/Loewen Duo, whose recording of Fitzell’s Metropolis will be released in 2010.
Fitzell has curated numerous sound art events, ranging from chamber music concerts to media art installations, and in 2009 became an Artistic Director of GroundSwell, Manitoba’s premiere new music series. Gordon Fitzell is an Assistant Professor of Music Theory and Composition at the University of Manitoba in Winnipeg, Canada, where he also leads the eXperimental Improv Ensemble (XIE).
Aaron Gervais is composer of new classical/avant-garde music, born in Edmonton, Canada in 1980. He received a Bachelor of Music with Honours from the University of Toronto, and a Master’s degree from the University of California at San Diego. He has also pursued studies at the Koninklijk Conservatorium in the Hague, Netherlands. Aaron’s teachers have included Chan Ka Nin (CA), Chinary Ung (US), Philippe Manoury (FR), and Martijn Padding (NL), and he has also participated in masterclasses with renowned composers from around the world. Prior to studying composition, Aaron studied jazz drumming and Cuban folkloric percussion, including a summer of private study in Havana in 2002.
Aaron’s music has been performed by major ensembles in several countries, including the Nieuw Ensemble (NL), orkest de ereprijs (NL), the Ensemble contemporain de Montreal (CA), the Nouvel ensemble moderne (CA), Tapestry New Opera Works (CA), Toca Loca (CA), Continuum (CA), the Knights Orchestra (US), the London Sinfonietta (UK), and the Arditti Quartet (UK). His music has been broadcast on CBC Radio/Radio- Canada.
Prominent festivals have presented Aaron’s work, including Amsterdam’s prestigious Gaudeamus Music Week; Toronto’s New Wave, soundaXis, and SHIFT festivals; Aberdeen’s Sound Festival; and New York’s MATA Festival. He was additionally selected as a representative for Canada in the 2008 World Music Days in Lithuania. One of his solo pieces, Flüsse-Einflüsse, was chosen as a required exam piece for the graduating accordion students at the Staatliche Hochschule für Musik – Trossingen in 2006.
Aaron was selected as the winner of the orkest de ereprijs’s International Young Composers Competition in the Netherlands in 2009. He has also received various other awards and grants, including an ASCAP Gould Award (2010), six prizes in Canada’s SOCAN Awards for Young Composers (2010, 2009, 2008, 2006, 2004, 2004), a Lieutenant Governor of Alberta Emerging Artist Award (2008), a SOCAN residency grant (2006), and numerous commissioning, travel, project, and study grants.
Long-term musical directions in Aaron's composing include a focus on rhythm and time, a preoccupation with the social and cultural factors that influence listening and taste, an interest in found materials, an exploration of what in fact constitutes creativity, and a fascination with the ways that social technologies are changing listening habits, to name a few. His music incorporates a wide range of palettes, from rich microtonal textures and shimmering timbres to bright chipper counterpoint, upbeat rhythmic drive, blunt musical gestures, and light-hearted humour.
Recent works include a piece for electronic Halo ballet dancers and chamber ensemble and a collage piece for large ensemble. He is currently working on a concert-length opera in conjunction with Toronto-based librettist Colleen Murphy. Aaron lives in San Francisco.
Dr. Keith Hamel is a Professor in the School of Music, an Associate Researcher at the Institute for Computing, Information and Cognitive Systems (ICICS), a Researcher at the Media and Graphics Interdisciplinary Centre(MAGIC) and Director of the Computer Music Studio at the University of British Columbia. Dr. Hamel has been on the Faculty at UBC since 1987, and has been a Full Professor since 1997. He holds a B.Mus. from Queen's University (1981) and A.M. and Ph.D degrees from Harvard University (1984, 1985). He also studied Computer Music under the supervision of Barry Vercoe at the Massachusetts Institute of Technology between 1981 and 1984.
Dr. Hamel has written both acoustic and electroacoustic music and has been awarded many prizes in both media. His works have been performed by many of the finest soloists and ensembles both in Canada and abroad. He has received commissions from IRCAM (Paris), the Ensemble Intercontemporain, Vancouver Symphony Orchestra,Vancouver New Music Ensemble, the Elektra Women's Choir, musica intima, Hammerhead Consort, Standing Wave, Hard Rubber Orchestra, as well as from outstanding performers such as flutist Robert Cram, bassoonist Jesse Read, clarinetist Jean-Guy Boisvert, saxophonist Julia Nolan, and pianist Douglas Finch. Many of his recent compositions focus on interaction between live performers and computer- controlled electronics.
As a computer music researcher, Hamel is recognized as one of the foremost authorities on music notation software. He is author of the NoteWriter and NoteAbilityPro software programs which are used around the world for professional music engraving and publishing, and he has developed interactive environments for live performer and computer interaction. His research has been funded by the Canada Council, the SSHRC, a Killam Research Fellowship, and UBC Arts-IT.
Dr. Keith Hamel is a former Vice-President of the International Society for Contemporary Music (ISCM), a former President of the Canadian Music Centre, and a former board member of the Canadian League of Composers. His music is published by Editions Musicales Européennes of Paris and by Cypress Press of Vancouver, and several of his compositions are available on commercial recordings.
James Harley, born 1959, Vernon, B.C., Canada, began studying composition in 1980. Prior to that, he had been active as a pianist, jazz and classical, played percussion, and also studied electroacoustics at Western Washington University. After graduating Magna cum laude in 1982, he took up residence in the UK in order to study composition with Paul Patterson at the Royal Academy of Music. Recipient of grants from the Canada Council and the Leverhulme Trust, among others, Harley remained in London for three years, benefitting from a number of performances and prizes. In 1985, having been awarded the prestigious Mendelssohn Scholarship, he moved to Paris. There, Harley studied aesthetics with Iannis Xenakis, musical acoustics at the Université de Paris, attended seminars at IRCAM and the College de France (Pierre Boulez), and worked extensively with the UPIC computer music system at CEMAMu.
While in Paris, Harley won a number of prizes, including two in the 1986 CBC Radio Young Composers Competition in Canada. Then, in 1987, Harley moved to Warsaw, thanks to a Polish Government Scholarship, to spend a year at the Chopin Academy of Music. He attended the composition class of Wlodzimierz Kotonski, participated in the Summer Courses for Young Composers organized by the Polish Society for Contemporary Music, and had a piece premiered at the 1987 Warsaw Autumn Festival. In 1988, Harley returned to North America, taking up doctoral studies at McGill University in Montreal. Under the guidance of Bruce Pennycook and Bo Alphonce, he pursued research there in the domain of computer-aided composition, developing CHAOTICS, compositional software based on functions derived from chaos theory. Harley graduated in 1994 with his D.Mus. in composition, having completed a large- scale thesis work, Cantico Delle Creature under the supervision of John Rea and Bruce Mather. Over the next year, supported by a major Artist's Grant from the Conseil des Arts et des Lettres du Quebec, he composed a series of chamber works, also teaching part-time in the Faculty of Music at McGill University. In 1995, Harley took up a sabbatical replacement position as Assistant Professor at Wilfrid Laurier University in Waterloo, Ontario, teaching composition, electronic music, and contemporary music history/analysis. At the same time, he completed a major commission for the Musiques- Echanges festival in Montreal.
In the fall of 1996, Harley moved to Los Angeles, and taught part-time at USC and the California Institute of the Arts. In 1999, he began teaching in Minnesota, directing the Music Technology program at Minnesota State University Moorhead. He was granted a McKnight Composer Fellowship in 2002. The university awarded him a Faculty Award for Research/Creative Activity in Fall 2003. In 2004, he became Coordinator of Music Industry and was promoted to Associate Professor. In 2004, Harley took up a new position at the University of Guelph. There he teaches digital music, composition, among other courses. In 2008, Harley was awarded a Leaders Opportunity Fund grant from the Canada Foundation of Innovation to launch the Advanced Digital Audio Production and Performance Studio at the University of Guelph. He has continued to compose to various commissions, among them NUMUS, New Music Concerts, Open Ears Festival, Transit Festival-Belgium, Transmission Ensemble, and Vancouver New Music. Various of Harley’s compositions have been released on CD, and can be found on labels such as Artifact, ATMA, Centrediscs, CMJ, McGill, PeP, Soundprints. Harley has scores published by PWM, and many of the rest can be consulted through the Canadian Music Centre. According to Marc Couroux, Harley's music "resides at the intersection of a network of influences rather than proliferating from a central ideology... Harley accepts that the complexity of nature requires a more artistically imaginative interpretation than the simple extension of an Arcadian, placid contemplation... Harley consequently oriented himself towards the theory of chaos, which derives its principles from a much more global study of natural mechanisms than was previously allowed due to hyperspecialization... James Harley defends on the highest level the great Canadian creative tradition, rooted in the natural world, a metaphor for the irreducible complexity of Canada and, by extension, of universal humanity."
Bob Pritchard’s creative work includes experimental concert music, interactive music and video pieces, direct synthesis, video/film, and software development. His music is performed and broadcast internationally, and in 2007 his interactive piece Strength for saxophone and video received a Unique Award of Merit from the Canadian Society of Cinematographers. In 2004 he received a 3-year Artist-Researcher grant from SSHRC, developing cyberglove-controlled speech synthesis and in 2007 Pritchard, Fels, and Vatikiotis-Bateson received a 3-year Canada Council/NSERC grant for the development of Digital Ventriloquized Actors (DiVAs) combining gestural control of speech synthesis with virtual faces. In 2009 he and Hamel received a 3-year SSHRC grant for the development of automated score-following systems. Pritchard teaches electroacoustics, music theory, special topics, and interdisciplinary courses at the University of British Columbia School of Music. He is co-director of UBC’s MUsic,Sound and Electroacoustic Technology group (MUSET), and is a researcher with the Media And Graphics Interdisciplinary Centre (MAGIC) and the Institute for Computing, Information, and Cognitive Science (ICICS). Currently he is Vice-chair of the Canadian Music Centre’s British Columbia region.
A.R. was born in Quebec City (Canada) where he made his basic musical training. He then moved to Montreal where is successively studied piano, harpsichord, composition and mathematics during the 1990s. He then occupied the position of pianist for the Ensemble contemporain de Montréal, the Trio Fibonacci and l’Ensemble Musiques Nouvelles.
As a composer, he received a few Prizes and stipends in Canada and abroad, and composes rather regularly works that have in common humor and speed, although often very far apart esthetically one from another, depending on the phases of his career.
First focused on the inclusion of elements from pop culture (in works such as Catalogue de bombes occidentales, Happiness Algorithm, Génération/Vitrail) he then got interested in mathematical representations (Motel Infinity, Après une lecture de Piskounov, Vers) and shifted his attention on the graphical elements of music, developing a notation and style of an anti-harmonic nature, where pitches only have a limited importance (Projets d’opéra, Sublimation, Variations psycho-géographiques sur Tannhaüser).
He describes his music as «a kind of rhythmical shuffle-zapping of elements taken from a collection of instrumental phantasms, often times resulting in self-cannibalism of the music itself, one of the musical ideas ending up devouring all the others».
Paul Steenhuisen is an art music composer and sound artist who works with broad range of acoustic and digital media. His concert music consists of orchestral, chamber, solo, and vocal music, and often includes live electronics and soundfiles. Additionally, he creates radio works, installation pieces, Steenhuisen obtained his Doctor of Musical Arts degree in composition from the University of British Columbia, where he studied with Keith Hamel. Between academic degrees, he studied with Louis Andriessen and Gilius van Bergeijk at the Royal Conservatory of Music, The Hague. While living in Amsterdam, he also worked with Michael Finnissy in Brighton, England. Subsequently, he took part in the Cursus de Composition et Informatiques at IRCAM (Paris), and had lessons with Tristan Murail. Upon his return from Paris, Steenhuisen participate in a winter session at the Banff Centre for the Arts, before taking on the shared position of Composer in Residence with the Toronto Symphony Orchestra (1998-2000).
During his student years, Paul Steenhuisen’s music received more than a dozen national and international awards. These include four prizes in the CBC (Canadian Broadcasting Corporation) Young Composers Competition, seven in the PROCAN/SOCAN Competition, first prize in the Vancouver New Music Composers Competition, and the Governor General of Canada Gold Medal as the outstanding student in all faculties (UBC, 1990). Music by Paul Steenhuisen was also selected for competition at the Gaudeamus Music Week. In 2003, Dr. Steenhuisen was appointed Assistant Professor of Composition at the University of Alberta, where he was the founder of the Electroacoustic Research Studios (UA-EARS). He served as director of the new studios until his resignation in 2007. UA-EARS studios were created with financial support from the Endowment Fund for the Future, the Faculty of Arts, and the Canada Foundation for Innovation. In early 2009, the University of Alberta Press published its first music text, Steenhuisen’s Sonic Mosaics: Conversations with Composers, a collection of interviews with thirty-one composers. In addition to this important text on Canadian music, Steenhuisen has contributed articles to the Angelaki Journal of Philosophy (co-written with Dr. Karen Houle), Circuit, Musicworks, Contemporary Music Review, Wholenote, and the World New Music Magazine (Köln).
Music by Paul Steenhuisen has been commissioned and performed by many outstanding and dedicated new music performers and presenters, including Esprit Orchestra, Arturo Tamayo,Sylvain Cambreling, Bramwell Tovey, Klangforum Wien, New Music Concerts, SMCQ, Soundstreams Canada, Trio Fibonacci, Ensemble 2e2m, Margaret Lancaster, Lori Freedman, Roger Admiral, Benny Sluchin, Irvine Arditti, Barbara Hannigan, Anne La Berge, Alain Trudel, John Hess, and others. Paul Steenhuisen’s music is regularly performed and broadcast in Europe, Asia, Australia, and North America. He also contributes all audio content and programming to the Hyposurface project, based in Cambridge, Massachusetts. In 2011, Paul Steenhuisen was awarded the Victor Martyn Lynch-Staunton award as outstanding mid-career artist in music.