The Piano Quartet in Canada - musiccentre.ca · The Piano Quartet in Canada Elizabeth Clarke, MMus candidate, University of Victoria Introduction ... 2013, Suzanne

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The Piano Quartet in Canada

Elizabeth Clarke, MMus candidate, University of Victoria

Introduction

Many Canadian composers have produced piano quartets, yet these works remain

largely unknown and underperformed. In the following study, I seek to draw more attention to

Canadian piano quartets by providing information and bibliographical details that will increase

their accessibility for performers and researchers, and by putting the works in context through an

examination of their performance history. I will begin with a discussion of existing research on

Canadian chamber music, including information about the background of the piano quartet and

of Canadian music separately. Following this, I will examine trends in Canadian piano quartet

performance and suggest possible reasons for the underperformance of most works. The study

will conclude with an annotated list of piano quartets by Canadian composers, including

information such as duration, movement titles, premiere and subsequent performance details,

availability of scores and recordings, and comments on the work. The information in the list

provides not only practical statistics for performers, but also a historical sense of each work that

is useful for researchers seeking to investigate the pieces more deeply.

Clarification of Terms

While the term “piano quartet” could theoretically refer to any work for piano and

three other instruments, for the purpose of this research it will refer only to works scored for

violin, viola, violoncello, and piano, with no substitutions. However, in an attempt to include as

many works of this instrumentation as possible, “Canadian composers” will be understood to

include both composers who were born in Canada as well as those who were born elsewhere but

spent substantial parts of their careers in Canada.

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Research Summary

While substantial work exists on keyboard chamber music and on Canadian music, very

little research combines the two. Chamber music catalogues tend not to include many Canadian

works, for example Maurice Hinson’s reference book The Piano in Chamber Ensemble includes

only one reference to a Canadian piano quartet, and the entry for “piano quartet” in Grove Music

Online makes no mention of Canadian works.1 Existing scholarly sources on Canadian composers

rarely focus on the piano quartet, and the Encyclopedia of Music in Canada contains no entry

under “piano quartet.” The minimal Canadian coverage in chamber music research may be a result

of the fact that most surveys of the canonic repertoire do not include many contemporary or

twentieth century works, Canadian or otherwise. The lack of writings on the piano quartet in

Canadian sources may be due to limited source material; most Canadian composers of piano

quartets have only written one or possibly two works in the genre, so they do not form a substantial

enough portion of composers’ outputs to be discussed at length in biographical articles.

Since there are very few existing scholarly articles relating to the piano quartet, it is

useful to consult research in the two areas of Canadian music and chamber music separately. A

major resource is the Encyclopedia of Music in Canada, originally edited by Helmut Kallmann,

Gilles Potvin, and Kenneth Winters with assistance from John Beckwith and Keith MacMillan.2

The entries in the Encyclopedia of Music in Canada tend to focus on biographical information

and historical trends rather than providing analyses of specific works, but they provide a great

1. Maurice Hinson and Wesley Roberts, The Piano in Chamber Ensemble: An Annotated

Guide, 2nd ed. (Bloomington: Indiana University Press, 2006), 507; David Fenton, “Piano

Quartet,” in Grove Music Online (Oxford University Press, 2007-), accessed December 3, 2013,

http://www.oxfordmusiconline.com/subscriber/article/grove/music/21643.

2. Helmut Kallmann, Gilles Potvin, and Kenneth Winters, eds. Encyclopedia of Music in

Canada (Toronto: University of Toronto Press, 1981).

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deal of background information about Canadian composers and the history of chamber music in

Canada. Kallmann, Beckwith, and MacMillan have also published work individually, focussed

mainly on cataloguing with less emphasis on scholarly analysis. Publications such as

Kallmann’s Catalogue of Canadian Composers and MacMillan and Beckwith’s Contemporary

Canadian Composers were some of the first sources to create entries for Canadian composers

including biographical information and works lists.3 The catalogues were complete in their time,

but unfortunately are now quite out of date. They also tend to be organized alphabetically by

composer with no index for works, which makes searching for all works of a specific genre

difficult. The cataloguing work begun by Kallmann, Beckwith, and MacMillan has been

continued by the Canadian Music Centre. The Canadian Music Centre was formed in 1959 and

acts to support and promote Canadian composers while providing a place for the collection and

distribution of scores. It supplies information for thousands of pieces, including a number of

piano quartets, but many of the entries are incomplete. Since the study of Canadian music is still

fairly new (having begun mainly in the mid twentieth century), there is still a great deal of

cataloguing work to be done before there is enough information for more detailed analysis.

A major centre for research related to Canadian music is the University of Toronto’s

Institute for Canadian Music, currently directed by Robin Elliott. The institute sponsors a variety

of publications and hosts guest lectures by composers and performers to encourage dialogue

about music in Canada. It also provides bibliographies for a variety of topics including

references for Quebec composers, a directory of music collections in Canada, and links to

3. Helmut Kallmann, ed., Catalogue of Canadian Composers (St. Clair Shores, MI:

Scholarly Press, 1972); Keith MacMillan and John Beckwith, eds., Contemporary Canadian

Composers (Toronto: Oxford University Press, 1975).

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Canadian music journals that are available online, including Circuits, Words and Music, and

Discourses in Music.4

There are also several existing writings that analyze other areas in Canadian chamber music

and that can serve as a parallel to work on the piano quartet. For example, Ireneus Zuk’s 1985

dissertation at the Peabody Institute and Stephanie Owen’s 1969 dissertation for Washington

University both deal with the Canadian piano concerto, and Robert Elliott’s University of Toronto

dissertation from 1990 discusses the string quartet in Canada. Drew Stephen’s reference article

on the wind quintet in Canada, as well as Eleanor Stubley’s guide to unpublished brass chamber

music by Canadian composers, are also relevant sources that help to provide a model for organizing

information about the Canadian piano quartet. 5

4. Institute for Canadian Music, “Activities of the Institute for Canadian Music” (University

of Toronto), accessed December 6, 2013, http://www.utoronto.ca/icm/activ.html; Suzanne

Alepin, “Répertoire des analyses d’oeuvres de compositeurs québecois”, Circuit: musiques

contemporaines 11, no. 1 (2000): 86-104, accessed September 20, 2013,

http://www.erudit.org/revue/circuit/2000/v11/n1/004648ar.pdf.

5. Ireneus Bohdan Zuk, “The Piano Concerto in Canada (1900-1980): A Bibliographic

Survey,” DMA diss., Peabody Institute, 1985, accessed December 3, 2013,

http://search.proquest.com.ezproxy.library.uvic.ca/docview/303431012?accountid=14846;

Stephanie Olive Owen, “The Piano Concerto in Canada since 1955,” Ph.D. diss., Washington

University, 1969, accessed December 3, 2013,

http://search.proquest.com/pqdt/docview/302444129/1421FE890A270801A4A/1?accountia=148

46; Robert William Andrew Elliott, “The String Quartet in Canada,” Ph.D. diss., University of

Toronto, 1990, accessed December 3, 2013,

http://search.proquest.com/pqdt/docview/303912096/abstract/1421FEAB0C55E1FD590/3?accou

ntid=11484; Drew J. Stephen, “The Wind Quintet in Canada: Legacy and Promise,” Discourses

in Music 4, no. 2 (Spring 2003), accessed December 3, 2013,

http://library.music.utoronto.ca/discourses-in-music/v4n2a3.html; Eleanor Victoria Stubley, A

Guide to Unpublished Canadian Brass Chamber Music Suitable for Student Performers

(Toronto: Canadian Music Educators’ Association, 1989).

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Due to the scarcity of secondary sources, research on the piano quartet in Canada

requires consulting a number of primary sources, especially original scores. The majority of the

relevant scores are unpublished but are available for loan from the library of the Canadian Music

Centre. These scores provide material for analysis, and also often provide information such as

dedications, program notes, or premiere details that cannot be found elsewhere. Concert

announcements and reviews found in newspapers are also important primary sources. The most

useful database for finding these newspaper articles is ProQuest Canadian Newsstand Major

Dailies. This database covers most major Canadian newspapers and several from smaller towns

and cities as well, and can be easily accessed through most academic libraries. Other relevant

primary sources include composers’ and performers’ personal websites and archived season

programs from chamber music recital societies and summer festivals.

Introduction to Music in Canada

Early Canadian composers did not place a high emphasis on chamber music, choosing

instead to focus largely on church music, theatre music, and orchestral music for the concert hall.

As a result, in the nineteenth and early twentieth centuries, chamber music recitals in Canada

mostly featured performances of European works rather than newly composed Canadian works.6

However, several events in the twentieth century helped to foster an interest in Canadian music

and increase the performance frequency of Canadian works, including works for chamber

ensemble. As Helmut Kallmann notes, Canada’s victory in World War Two and the occurrence

of Canada’s centennial year in 1967 both resulted in a growing sense of national pride which

manifested itself in a heightened interest in products of Canadian art and culture. Concert

6. John Beckwith, “Chamber Music Composition,” in The Encyclopedia of Music in

Canada (Historica Foundation, 2012-), accessed September 10, 2013,

http://www.thecanadianencyclopedia.com/articles/emc/chamber-music-composition.

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managers and festival organizers created new outlets for performance and academics began to

regard Canadian music as worthy of serious study. For example, in 1950 Vancouver hosted the

First Symposium of Canadian Contemporary Music which showcased the music of thirty-three

Canadian composers including Healey Willan, Clermont Pépin, Barbara Pentland, and John

Weinzweig. Several national organizations for Canadian music were also formed during this

time, including the Canadian Music Centre and the Canadian League of Composers. The

Canadian League of Composers, founded in 1951, sought to help professional composers

promote their music through performances and publications, to encourage the composition of

new works, and to ensure fair pay and royalties for composers. Its earliest members included

John Weinzweig, Harry Somers, and Murray Adaskin, and in 1952 it organized a series of

Canadian music concerts that helped to draw attention to its members’ works. The Canadian

League of Composers still exists today, and now has hundreds of members spanning a wide

variety of compositional styles. 7

Despite the wealth of compositions to choose from, Canadian music is not widely

performed internationally. The issue of Canada’s music in the world was discussed at a 1986

conference in Toronto entitled Hello Out There! Canada’s New Music in the World, 1950-85.

Presenters at the conference discussed the efforts made to improve the exposure of Canadian

music, including the declaration of 1986 as the International Year of Canadian Music. As

presenter Simone Auger explained, the declaration helped provide a reason for Canadian

7. Helmut Kallmann, “The Canadian League of Composers in the 1950s: The Heroic

Years,” in Mapping Canada’s Music: Selected Writings of Helmut Kallmann, ed. John Beckwith

and Robin Elliott (Waterloo, ON: Wilfred Laurier University Press, 2013), 90; Helmut

Kallmann, Alexis Luco, and Monica Pearce, “Canadian League of Composers,” in The

Encyclopedia of Music in Canada (Historica Foundation, 2012-), accessed March 25, 2014,

http://www.thecanadianencyclopedia.com/en/article/canadian-league-of-composersligue-

canadienne-des-compositeurs-emc/.

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performers to tour with Canadian music, and gave international concert programmers a reason to

program Canadian works. In 1986, as a result of the Year of Canadian Music, performances of

Canadian music were held in the United States, Ireland, England, Austria, Iceland, Israel, and

Cuba. The celebration also encouraged new writings on Canadian music, both in Canada and in

other countries where the music was heard for the first time.8 However, despite these and other

efforts to improve exposure, Canadian music is still not widely performed outside of Canada.

Dorith Cooper, in her survey of international performances of Canadian works, notes that

Canadian music was performed internationally very rarely before the mid-1970s, and even then

only by touring Canadian artists and not by the other countries’ artists themselves.9 Throughout

the conference, presenters stressed the idea that, if Canadian works are to be performed more

often internationally, they must first be performed and recognized at home. If the works are not

well known in their country of origin, then there is little chance they will be successfully

disseminated in the world.

Introduction to the Piano Quartet

The piano quartet as a genre developed out of the string-accompanied keyboard

divertimento of the mid- to late eighteenth century. The literature is not as large as the string

quartet or piano trio, but many Western canonic composers including Mozart, Beethoven,

Mendelssohn, Schumann, Brahms, Fauré and Dvořák, have contributed substantial works to the

8. Simone Auger, “The Canadian Music Centre and the International Year of Canadian

Music,” in Hello Out There! Canada’s New Music in the World 1950-85, ed. John Beckwith and

Dorith Cooper (Toronto: Institute for Canadian Music, 1988), 24-26.

9. Dorith Cooper, “Canadian Artists and Canadian Repertoire on Tour Outside Canada,” in

Hello Out There! Canada’s New Music in the World 1950-85, ed. John Beckwith and Dorith

Cooper (Toronto: Institute for Canadian Music, 1988), 140.

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genre. The style of writing can vary greatly, from the piano playing a soloistic role in contrast

with the string group accompaniment, to the string instruments playing as soloists accompanied

by the piano, to all four instruments being treated equally.10

There are few established piano quartet ensembles active in Canada, so many quartet

performances involve groups who work together temporarily for a specific concert or event.

Since there are not many established ensembles, works for piano quartet tend not to be

commissioned as often as works for piano trio or string quartet. The best known currently

existing Canadian piano quartet ensemble is Ensemble Made in Canada, comprised of Elissa Lee

(violin), Sharon Wei (viola), Rachel Mercer (violoncello), and Angela Park (piano). The group

has performed to critical acclaim throughout Canada and the United States, has received

numerous grants from the Ontario Arts Council and the Canada Council for the Arts, and in 2012

commissioned a work by Canadian composer John Burge, to be recorded in 2014.11 Another

important ensemble historically was Quartet Canada, originally consisting of Steven Staryk

(violin), Gerald Stanick (viola), Tsuyoshi Tsutsumi (violoncello) and Ronald Turini (piano). The

group performed across Canada, as well as on international tours, and made many appearances

on CBC radio. It also commissioned two Canadian works by composers Peter Paul Koprowski

and Anne Lauber. 12 Though not a fixed piano quartet, the chamber music ensemble Musica

10. Fenton, “Piano Quartet”.

11. “Ensemble Made in Canada,” last updated 2013, accessed December 6, 2013,

http://www.ensemblemadeincanada.com/.website; cf. John Burge Piano Quartet: Echoes.

12. Stanick and Turini have also performed with Yuri Mazurkevich (violin) and Anthony

Elliott (violoncello) under the same ensemble name; Patricia Wardrop, “Quartet Canada,” in The

Encyclopedia of Music in Canada (Historica Foundation, 2012-), accessed December 6, 2013,

http://www.thecanadianencyclopedia.com/en/article/quartet-canada-emc/; cf. Peter Paul

Koprowski Piano Quartet and Anne Lauber Piano Quartet.

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Camerata, based in Montreal and led by violinist Luis Grinhauz, has also commissioned,

premiered, performed, and recorded many of the works included in the list to follow.13

Chamber music in Canada is often performed in society subscription concerts and in

summer festivals. All major cities, and several smaller ones as well, have chamber music

societies including the Vancouver Friends of Chamber Music, Music Toronto, Société de

Musique de Chambre de Montréal and the Montreal Ladies’ Morning Musical Club, the

Edmonton Recital Society, and the Kitchener-Waterloo Chamber Music Society. There are also

many summer festivals for chamber music, including Ottawa’s Chamberfest, the Prince Edward

County Music Festival, the Stratford Festival, Winnipeg’s Agassiz Chamber Music Festival, and

the Tuckamore Festival in St. John’s, to name a few. However, it is quite rare for these recital

series and festivals to program piano quartet ensembles, and even more rare for the ensembles to

perform Canadian works. There are likely several reasons for this underperformance, including

the fact that many of the performers are visiting artists and not Canadian themselves, thus having

less of a vested interest in performing Canadian works. Additionally, many of the existing

Canadian piano quartets fall into the category of contemporary music, which can be more

difficult to prepare in a short amount of time. For ensembles who do not play together regularly,

budget and time constraints often do not allow for enough rehearsals to put these difficult works

together. Many of the works are also unpublished, which means it can be more difficult to

obtain suitable scores and parts for performance and even to know that these works exist. For

recital societies, whose continuing existence depends on selling enough tickets for each concert,

programming lesser-known, possibly audience-challenging works can also be a financial risk and

13. Cf. Milton Barnes Poème juif à piano quartet, Anne Eggleston Quartet for Piano and

Strings, George Fiala Three Movements, and Steven Gellman Piano Quartet.

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is therefore often avoided. Unfortunately, this results in a cycle of underperformance: works are

not played because they are not known, but never have a chance to become known because they

are not played.

Discussion of Method

The majority, though not all, of the works in this study were drawn from the library of

the Canadian Music Centre. One notable challenge in locating works is that there likely exist

piano quartets by composers whose work is not documented at the Canadian Music Centre and

therefore would not be retrieved in a repertoire search. It is even possible that some works exist

by student or amateur composers that are not disseminated at all. I therefore do not claim to be

exhaustive, but rather attempt to include as many works as possible in order to draw attention to

the genre and discover general trends.

Several collections and databases have been useful in locating information about the

works and their performances. Of paramount importance are collections of Canadian

newspapers, available online at the ProQuest Canadian Newsstand Major Dailies database.

These newspapers provide valuable reviews and concert announcements which supply

information about works’ premieres and subsequent performances. However, this

documentation is also not exhaustive as chamber music is commonly performed by students and

amateurs and therefore not necessarily documented in newspapers. I am very grateful for the

personal assistance of many featured composers for their willingness to share information about

undocumented performances. Studying the scores has also been useful to gain more information,

including dedications, use of extended techniques, and nature of the writing, that is not found in

newspapers. Finally, for more well-known composers such as Murray Adaskin, Jean Coulthard,

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and Barbara Pentland, works catalogues and biographies already exist that provide valuable,

albeit limited, information about these composers’ piano quartets.

Conclusions

The major conclusion reached by this study is not that there is a distinctly “Canadian”

aesthetic, nor one way to describe all Canadian piano quartets. Rather, it is that there is a large

research gap and a need for more detailed work to be done to draw more attention to the genre.

The piano quartet is frequently overshadowed by the string quartet and piano trio, and within the

piano quartet canonic composers such as Brahms, Schumann, and Fauré generally take

precedence over Canadian works. Works that are performed professionally are usually

commissioned, mostly from ensembles or festivals supported by grants from the Canada Council

or provincial arts councils. Non-commissioned works often do not receive as many

performances, but even commissioned works can be played once and then largely forgotten.

In general, quartets that enjoy the most popularity are audience-accessible in form or

style, and have been performed or premiered by well-respected artists who increase the works’

credibility. This creates a self-perpetuating cycle of works being performed more often once

they have already been performed a number of times, though the idea of a Canadian piano

quartet canon is still far from being a reality at the present time. For example, Anne Eggleston’s

Quartet for Piano and Strings, though not written on professional commission, included notable

violist Robert Verebes in the premiere performance and was later performed by well-known

professional artists and university professors including pianist Charles Reiner, violinist Morry

Kernerman, and members of Musica Camerata. The work itself is written in a neo-Classical

style and uses standard compositional techniques that the audience can understand and relate to.

Other works that have enjoyed many performances have been championed by touring artists, as

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is the case with the John Burge quartet commissioned by Ensemble Made in Canada and with

Robert Lemay’s À tout prendre: Hommage à Claude Jutra.

The piano quartet in Canada remains a topic for further discussion and study, and the

annotated list to follow is a step to facilitate the process. The more accessible these pieces are to

performers and researchers, the more they can be used and celebrated. In time, this will lead to a

heightened awareness of Canadian music in general, both in Canada and throughout the world,

and will help to establish Canadian music as an important contemporary influence.

Acknowledgements

I would like to acknowledge the support of the Social Sciences and Humanities

Research Council of Canada who provided financial aid for this project. I would also like to

thank composers Michael Conway Baker, Victor Davies, Anne Lauber, Robert Lemay,

Rosemary Mountain, Monte Keene Pishny-Floyd, David R. Scott, and Alexander Simon for their

generosity and willingness to provide information about their pieces, as well as Richard Green,

librarian at Library and Archives Canada, for his assistance in locating information relating to

Anne Eggleston’s Quartet for Piano and Strings. Finally, I would like to gratefully acknowledge

the assistance of my research supervisor, Dr. Michelle Fillion, whose enthusiasm and wealth of

knowledge helped make this project possible.

Annotated List of Canadian Piano Quartets

The following list seeks to provide as much information as possible about each

included work. Entries are organized alphabetically by the composer’s surname. For the sake of

space conservation, areas that are not applicable for a given work, or where the required

information was not available, are omitted. Any listings of performances begin with the date,

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followed by the names of the concert hall, city, and performers. Unless otherwise indicated, the

performers will be listed in the following order: violin, viola, violoncello, piano. The references

given are to aid further study of the composer and to provide a background where possible.

Further references, including newspaper reviews and concert announcements, are included in the

bibliography. After each performance listing, the source for the listing (specific newspaper,

composer’s website, etc.) is provided. The following are abbreviations used throughout:

CMC- Canadian Music Centre

Comp.-information provided personally by the composer

Comp. web.-composer’s website

EJ-Edmonton Journal

EMC-Encyclopedia of Music in Canada

G&M-Globe and Mail (Toronto)

MG-Montreal Gazette

NP-National Post (Toronto)

OC-Ottawa Citizen

Perf. web.- performer’s website

Pno-piano

TS- Toronto Star

Vc-violoncello

Vla-viola

Vln-violin

VS-Vancouver Sun

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Murray Adaskin (1906-2002)

Introduction and Rondo

Composed 1957, Duration 9’

Two Movements: Andante Sostenuto, Allegro

Premiere

Information:

21 July 1959, Saskatoon Golden Jubilee Concerts, Saskatoon, SK:

Rafael Druian, Albert Falkove, Robert Jamieson, John Simms

(Lazerevich/Cathcart)

Additional

Performances:

13 April 1977, CBC broadcast, Musica Camerata (G&M)

Score Availability: Score available from the CMC for loan or purchase:

http://www.musiccentre.ca/node/56703.

Recordings: CBC archival recordings available at the CMC:

https://www.musiccentre.ca/node/14868

https://www.musiccentre.ca/node/17100.

Comment: The piece was written for a composition competition at the Vancouver

International Festival in the summer of 1958. It opens with staggered

entries, beginning with the violin and followed by the viola, cello, and finally

piano. Much of the writing in both movements contrasts the strings as a

group with piano solos. The first movement transitions attacca into the

second, with a spiccato bowing indication in the strings. Accidentals, rather

than a key signature, are used extensively throughout. Cf. Adaskin Piano

Quartet below.

Available

References:

King, Betty Nygaard. “Murray Adaskin.” In The Encyclopedia of Music in

Canada. Historica Foundation, 2012-. Accessed December 20, 2013.

http://www.thecanadianencyclopedia.ca/en/article/murray-adaskin-

emc/.

Lazarevich, Gordana. The Musical World of Murray Adaskin and Frances

James. Toronto: University of Toronto Press, 1988.

Lazarevich, Gordana, and Robyn Cathcart. Murray Adaskin: An Annotated

Catalogue of His Music: A Unison of Life, Music, and the Man.

Victoria, BC: Dolce Publications, 2003.

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Murray Adaskin (1906-2002)

Piano Quartet

Composed 1995, Duration 16’30”

Three Movements: Maestoso, Andante Sostenuto, Allegro

Dedication: Pianist Ewa Stojek-Lupin

Premiere

Information:

31 July 1996, Vancouver Chamber Music Festival, Crofton House School,

Vancouver, BC: Martin Beaver, Carla-Maria Rodrigues, Joseph

Elworthy, Angela Cheng (Lazarevich/Cathcart)



Recordings: CBC archival recording available at the CMC:


Comment: The three movements of the piano quartet are comprised of Adaskin’s

existing Introduction and Rondo (cf. above) plus a newly composed

Maestoso movement. The suggestion to add a third movement was given by

composer Aaron Copland after a hearing of the Introduction and Rondo.

The opening Maestoso movement passes motives around the various

instruments and also features the piano contrasted with the strings as a group.

Available

References:

King, Betty Nygaard. “Murray Adaskin.” In The Encyclopedia of Music in


http://www.thecanadianencyclopedia.ca/en/article/murray-adaskin-

emc/.

Lazarevich, Gordana. The Musical World of Murray Adaskin and Frances

James. Toronto: University of Toronto Press, 1988.

Lazarevich, Gordana, and Robyn Cathcart. Murray Adaskin: An Annotated

Catalogue of His Music: A Unison of Life, Music, and the Man.

Victoria, BC: Dolce Publications, 2003.

Milton Barnes (1931-2001)

Poème juif à piano quartet


One Movement

Commission: Commissioned by the Jewish Music Committee of the Canadian Jewish

Congress, Eastern Region/Montreal

Premiere

Information:

20 March 1977, Samuel Bronfman House, Montreal, QC:

Musica Camerata (CMC)

Additional

Performances:

4 March 1978, Christchurch Cathedral, Montreal, QC: Luis Grinhauz,

Robert Verebes, Yuli Turovsky, Berta Grinhauz (CMC)

28 September 1989, Church of the Holy Trinity, Toronto, ON: Amati

Quartet (TS)



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http://www.musiccentre.ca/centrestreams/swf?mode=play_by&opt=id&id=1

662.

Comment: The piece begins with an allegro agitato section that reoccurs several times

and includes “slap” pizzicato in the cello. It alternates with more expressive

lento sections that include solo cadenza-like passages in the piano and cello.

The influence of Jewish dance music is present throughout, particularly in

the off-beat rhythms in the piano and in the use of chromaticism.

Available

References:

King, Betty Nygaard. “Milton Barnes.” In The Encyclopedia of Music in


http://www.thecanadianencyclopedia.ca/en/article/milton-barnes-

emc/.

Diane Berry (b. 1959)

A Northern Winter’s Night


One Movement: Allegro Agitato

Premiere

Information:

20 March 2013, ProMusica Sonic Boom Festival, Pyatt Hall, Vancouver,

BC: Elyse Jacobson, Elliot Vaughan, Eric Wilson, Corey Hamm

(comp.)



Recordings: Recording of premiere performance available at:

https://soundcloud.com/vancouver-pro-musica/a-northern-winters-night.

Comment: The piece begins with long notes that fade away and sul tasto playing in the

strings which, according to the composer’s program note, are meant to evoke

“the fading light of a mid-winter afternoon.” The middle section is more

rhythmic in the piano and is intended to suggest the northern lights. The

work received an honourable mention in the 2011 Search for New Music

competition of the International Alliance for Women in Music.

Available

References:

Berry, Diane. “Programme Note.” Canadian Music Centre.


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Wolfgang Heinz Otto Bottenberg (b. 1930)

Piano Quartet in B-flat

Composed 2002, Duration 21’30”

Three Movements: Allegro Moderato, Andante, Allegro



Recordings: Feldman, Pavel, Aleksey Dyachkov, Katherina Skorzewska, and Lauretta

Altmann. Wolfgang Bottenberg: Chamber Music for Strings and

Piano. Disques XXI 21561, 2007.

Comment: Unlike some of the composer’s earlier serial or aleatoric works, this piece is

largely tonal and makes use of Classical forms. The first movement features

repeated eighth note patterns as accompaniment, alternating equally between

the piano and strings. The second movement opens with a piano solo, and

the third movement, as noted by the program notes in the commercial

recording, is written in the Lydian mode.

Available

References:

Fisher, Alfred. “Wolfgang Bottenberg.” In The Encyclopedia of Music in


http://www.thecanadianencyclopedia.ca/en/article/wolfgang-

bottenberg-emc/.

Walter Buczynski (b. 1933)

Elora Quartet


One Movement

Commission: Gabriele Ensemble with a grant from the Ontario Arts Council

Score Availability: Score available from the CMC for loan or purchase.


Comment: The first movement begins with strings alone. The strings function as a

group throughout and alternate with statements in the piano. The first

movement transitions attacca into the second movement, which features

quick flourishes in all parts and both arco and pizzicato in the strings. There

are also free tremolos (marked “slow to fast to slow” or just “slow to fast”)

in each part, and a scherzo section where the strings again work as a group

and contrast with the piano. The piece concludes with a section marked

Maestoso, which contains dramatic dynamic contrasts from pppp to fff.

Available

References:

King, Betty Nygaard, and John Beckwith. “Walter Buczynski.” In The

Encyclopedia of Music in Canada. Historica Foundation, 2012-.

Accessed December 21, 2013.

http://www.thecanadianencyclopedia.ca/en/article/walter-buczynski-

emc/.

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John Burge (b. 1961)

Piano Quartet:Echoes


Three Movements: Con moto, Adagietto-Presto mysterioso-Adagietto,

Allegro ritmico

Commission: Ensemble Made in Canada: Elissa Lee, Sharon Wei, Rachel Mercer, Angela

Park

Dedication: Ensemble Made in Canada

Premiere

Information:

13 March 2012, Cellar Restaurant and Jazz Club, Vancouver, BC: Ensemble

Made in Canada (VS)

Additional

Performances:

24 March 2012, Ensemble Made in Canada, Eckhardt-Gramatté Hall,

University of Calgary, Calgary, AB (CH)

6 May 2012, Syrinx Concert Series, Heliconian Hall, Toronto, ON:

Ensemble Made in Canada with Tawyna Popoff, viola (perf. web.)

9 May 2012, Kitchener-Waterloo Chamber Music Series, Waterloo, ON:

Ensemble Made in Canada with Tawyna Popoff, viola (perf. web.)

11 May 2012, Guelph Musicfest, Guelph, ON: Ensemble Made in Canada

with Tawyna Popoff, viola (perf. web.)



Recordings: To be recorded by Ensemble Made in Canada in 2014, supported by a grant

from the Ontario Arts Council, the Canada Council, and Queen’s University.

Comment: According to Ensemble Made in Canada’s program note, the piece’s subtitle

refers both to the way musical material is reused and reworked throughout

the composition and to the way material is exchanged between the piano and

strings, especially in the second movement. The first movement features

frequent tremolos in all parts, while the second includes quick arpeggiated

chords in the piano and natural harmonics in the violin. The third movement

contains driving eighth notes passed around the different instruments and

extreme dynamic ranges, from ffff to ppp.

Available

References:

“Ensemble Made in Canada-Programme Notes.” Last modified 2012.

Accessed March 22, 2014. http://music.ucalgary.ca/event/old-vs-new.

“Ensemble Made in Canada.” Last modified 2013. Accessed December 23,

2013. http://www.ensemblemadeincanada.com/.

19

Michael Conway Baker (b. 1937)

Quartet for Violin, Viola, Cello, and Piano

Composed 1961, revised 2010, Duration 8’

One Movement

Commission: Private commission by Perry Millar

Dedication: Perry Millar

Premiere

Information:

Private concert at the home of Perry Millar, Montreal, QC (comp.)

Additional

Performances:

1971, Shawnigan Summer Music Camp, Shawnigan Lake, BC: Michael

Conway Baker and faculty (comp.)



Recordings: Available from the composer at www.michaelconwaybaker.com.

Comment: One of the composer’s earliest works, the piece was written for the children

of Perry Millar, who played the appropriate instruments for a piano quartet.

The piece begins with cello alone, which is then joined by the viola, violin,

and finally the piano. It is technically accessible and suitable for amateur

players. The music has also been used as dance music by the Pro-Arte ballet

company in Vancouver, for whom Michael Conway Baker is composer-in-

residence.

Available

References:

“Michael Conway Baker.” Last modified 2013. Accessed December 21,

2013. http://www.michaelconwaybaker.com/.

Jean Coulthard (1908-2000)

Piano Quartet: Sketches from a Mediaeval Town


Four Movements: Arabesque (Sonatine), Mediaeval Procession (La

procession mediaeval), Conversation of the Gargoyle and the Saint

(Dialogue de la gargouille et le saint), Country Dance (Villanelle)

Additional

Performances:

16 August 1973, Queen Elizabeth Theatre, Vancouver, BC: Reger String

Quartet with John Ogden, piano (CMC)

10 January 2004, Christchurch Cathedral, Ottawa, ON (OC)

17 January 2004, Willowdale United Church, Toronto, ON: Scott St. John,

Emily Morrison Eng, Kristine Bogyo, Donna Lee (NP)

18 January 2004, Walter Hall, University of Toronto, Toronto, ON: Scott St.

John, Emily Morrison Eng, Kristine Bogyo, Donna Lee (NP)

4 August 2008, St. John’s Anglican Church, Ottawa, ON: Judy Kang, Sharon

Wei, Rachel Mercer, Angela Park (OC)

9 May 2009, Almonte Old Town Hall, Almonte, ON: Judy Kang, Sharon

Wei, Rachel Mercer, Angela Park (OC)



20



0693.

Comment: This programmatic piece was composed during Coulthard’s time in the village

of Roquebrune in the south of France, immediately after she had spent time in

Paris on a funding grant from the Royal Society of Canada. The movement

titles are written in both French and English and depict images from

Roquebrune’s past. The second and third movements require the strings to

play con sordino in sections, and the final movement contains an ad lib

cadenza in the piano.

Available

References:

King, Betty Nygaard, et al. “Jean Coulthard.” In The Encyclopedia of Music

in Canada. Historica Foundation, 2012-. Accessed December 23,

2013. http://www.thecanadianencyclopedia.com/en/article/jean-

coulthard/.

Victor Davies (b. 1939)

For Jennifer: Remembrances


Eight Movements: Prologue, Bells, Gardens, Fountains, Monuments,

Memories of Former Times, Walking, Epilogue

Commission: Privately commissioned by Theodore Arcand

Dedication: To Theodore Arcand

Premiere

Information:

20 September 1998, Convocation Hall, McMaster University, Hamilton,

ON: Marta Hidy, Michael Schule, Zdenek Konicek, Valerie

Tryon (comp. web.)



Also available for purchase from the composer’s website:

http://www.victordavies.com.

Recordings: Archival recording of premiere available from the CMC:


5805.

Comment: The piece was commissioned in memory of Arcand’s wife, Jennifer, and is

intended to be a musical evocation of Rome, one of her favourite cities.

According to the composer, it was intended to be “transparent, clear,

melodic, and accessible” for both performers and listeners, and it provides a

variety of musical moods and colours. Some sections require long pedals in

the piano, in order to create “a reverb like quality, as if heard through space

and time.”

Available

References:

“Victor Davies: Composer.” Last modified 2013. Accessed December 23,

2013. http://www.victordavies.com/.

21

Anne Eggleston (1934-1994)

Quartet for Piano and Strings


Four Movements: Moderato con espressione, Allegro scherzando, Lento,

Allegro

Dedication: Pianist Louise Hoffman Milota

Premiere

Information:

February, 1959, Ottawa, ON: Janet Roy, Robert Verebes, Joyce Sands, Anne

Eggleston (MG)

Additional

Performances:

1 March 1964, Ritz-Carleton Hotel, Montreal, QC: The Canadian Piano

Quartet: Morry Kernerman, Robert Verebes, Dorothy Bégin,

Charles Reiner (MG)

10 August 1966, Stratford Music Festival CBC broadcast, Stratford, ON:

David Zafer, Simon Streatfeild, Ronald Laurie, Sheila Henig

(CMC)

17 October 1966, Dunning Hall, Queen’s University, Kingston, ON: The

New Piano Quartet: David Zafer, Stanley Solomon, Donald

Whitton, Sheila Henig (Kingston Whig-Standard)

22 May 1977, CBC Radio Broadcast: Luis Grinhauz, Robert Verebes, Laura

McLellan, Berta Rosenohl-Grinhuaz (CMC)

19 March 1987, Walter Hall, University of Toronto, Toronto, ON: Hart

Quartet: Betty-Jean Hagen, Ralph Aldrich, Malcolm Tait, Arthur

Rowe (TS)

3 November 1994, Pollack Hall, McGill University, Montreal QC: Musica

Camerata (MG)

2 August 2004, Ottawa Chamber Music Festival, St. John’s Anglican

Church, Ottawa, ON: Musica Camerata (OC)

24 January 2014, Bourgie Hall, Montreal, QC: Luis Grinhauz, Lambert Jun-

Yuan Chen, Sylvain Murray, Berta Rosenohl-Grinhauz (perf. web.)

18 February 2014, University of Victoria, Victoria, BC: Derrick Lee, Calvin

Yang, Alexander Klassen, Elizabeth Clarke



Commercially published score: London, ON: Huron Publications/Jaymar,

1972.

Recordings: Grinhauz, Luis, Kenneth Freed, Leo Grinhauz, and Berta Rosenohl.

Quatuors pour piano et cordes. Musica Camerata Montreal MCM

001, 1996.

CBC archival recording available from the CMC:


5805.

Comment: According to the program notes for a 1977 CBC recording of the work, the

piece was composed for an assignment while the composer was studying at

the University of Toronto and reflects influences of Bartók and Bloch. It is

in a neo-Classical style and often contrasts the piano with the strings as a

22

group. It is the only piano quartet by a Canadian composer included in

Hinson and Roberts’ catalogue The Piano in Chamber Ensemble: An

Annotated Guide.

Available

References:

King, Betty Nygaard, and Leonard Isaacs. “Anne Eggleston.” In The

Encyclopedia of Music in Canada. Historica Foundation, 2012-.


http://www.thecanadianencyclopedia.com/en/article/anne-eggleston-

emc/.

Hinson, Maurice, and Wesley Roberts. The Piano in Chamber Ensemble: An

Annotated Guide. 2nd ed. Bloomington: Indiana University Press,

2006.

Anon. “Quartet for Piano and Strings: Program Notes.” Radio Canada

Archival Recording. Anne Eggleston Fonds, Library and Archives

Canada.

George Fiala (b. 1922)

Three Movements

Composed 1957, Revised 1972 Duration 11’

Allegretto giocoso, Adagio, Allegro con brio

Premiere

Information:

Montreal (CMC)

Additional

Performances:

22 May 1977, CBC Radio Broadcast: Musica Camerata (CMC)



Recordings: Archival recording available from the CMC:


Comment: The first movement features sections of alternation between the strings and

piano, and quick sixteenth note figures in all parts. The second movement

uses muted strings, and begins with a viola solo. It is written without a key

signature, but with many accidentals, and much of the movement is written

for strings alone. The second movement transitions attacca into the third,

which begins with alternating punctuated chords between the piano and

strings. The piano then plays a repeated two-measure pattern that is

transposed to different keys and accompanies the strings. The movement

ends with dramatic dynamic changes, from a subito pianissimo in the

penultimate measure to fortissimo in the final measure.

Available

References:

Potvin, Gilles. “George Fiala.” In The Encyclopedia of Music in Canada.

Historica Foundation, 2012-. Accessed December 26, 2013.

http://www.thecanadianencyclopedia.com/en/article/george-fiala-emc/.

23

Kristin Flores (b. 1977)

Waves


Five Movements

Commission: Lands End Chamber Ensemble, Calgary, AB

Dedication: Lenin Flores (composer’s husband), Tristan Flores (composer’s son), and

Darlene and David Dahle (composer’s parents)

Premiere

Information:

Calgary, AB: Lands End Chamber Ensemble (Flores dissertation)

Additional

Performances:

Calgary, AB: New Works Calgary (Flores dissertation)

Score Availability: Appendix to dissertation (see reference below).

Comment: This piece was written as part of the composer’s Ph.D. dissertation.

According to her introductory essay, the piece is meant to represent nature

and each movement is modeled after the structure of different types of

waves. The overall structure of the entire piece is also modelled after a

wave. The harmonic language is influenced by modes, and the varied

textures give each instrument a chance to be both a soloist and accompanist.

Available

References:

Flores, Kristin. “Waves: A Piano Quartet.” Ph.D. diss., University of

Calgary, 2010. Accessed December 26, 2013.

http://search.proquest.com.ezproxy.library.uvic.ca/docview/84758583

4/accountid=14846.

Steven Gellman (b. 1947)

Piano Quartet

Composed 2002, Revised 2003, Duration 31’

Four Movements: Introduction, Elegy, Scherzo, Finale

Commission: Commissioned by Radio Canada for Musica Camerata Montréal

Dedication: Cheryl Gellman (composer’s wife)

Premiere

Information:

3 April 2004, Redpath Hall, Montreal, QC: Musica Camerata

Additional

Performances:


Church, Ottawa, ON: Musica Camerata (OC)


Church, Ottawa, ON: Ensemble Made in Canada (OC)

September 2010, Prince Edward County Chamber Music Festival (OC)

20 September 2013, Prince Edward County Chamber Music Festival,

Church of St. Mary Magdalene, Picton, ON: Jacques Israeliévitch,

Aaron Au, Tanya Prochazka, Stéphane Lemelin (PEC Music

Festival website)



24

Recordings: Archival recording of premiere available from the CMC:


5744.

Comment: According to the composer’s program note, the material presented in the

first movement contains the motives used throughout the rest of the piece.

The second movement is meant to express extreme sadness, while the third,

which contains harmonics in the strings, has a “Spanish flavour” and is

meant to bring a more upbeat mood. The final movement is, as the

composer notes, in arch-rondo form and draws on the material already used

in the piece. It alternates two contrasting themes, one upbeat and the other

more introspective.

Available

References:

Gellman, Steven. “Program Notes.” Accessed December 26, 2013.

http://www.stevengellman.com/stevengellman/Program_Notes.html

.

Ford, Clifford, and Evan Ware. “Steven Gellman.” In The Encyclopedia of

Music in Canada. Historica Foundation, 2012-. Accessed December

26, 2013.

http://www.thecanadianencyclopedia.com/en/article/steven-

gellman-emc/.

Arsenio Girón (b. 1932)

Quartet for Violin, Viola, Cello, and Piano


Three Movements

Premiere

Information:

26 January 1996, von Kuster Hall, University of Western Ontario, London,

ON: Robert Skelton, Ralph Aldrich, Norman Abbott, Arsenio

Girón (CMC)



Comment: Each movement is given a metronome marking rather than an expressive

word for the tempo. The first movement, marked 80 to the quarter note, uses

sixteenth note figures passed between the piano and strings. The second

movement (quarter note=56) features muted strings and tremolos, while the

third (quarter note=60) alternates between treble and bass registers in the

piano and contains thirty-second note runs in all parts.

25

Udo Kasemets (1919-2014)

Sonata Concertante Op. 50

Composed 1957

Three Movements: Lento-allegro vigoroso, Molto Adagio, Allegro

Rustico-Tempo di Valse-Lento



Comment: Unlike many of the composer’s later works, this piece uses standard notation

and requires no extended techniques. Each movement transitions attacca into

the next, and the first movement contains fast passagework in the piano part.

The second movement contrasts the strings as a group with the piano, and

features a long section of strings only towards the end. The third movement

contains a short piano solo and ends pppp in all parts.

Available

References:

Ware, Evan, and Alan M. Gillmor. “Udo Kasemets.” In The Encyclopedia of

Music in Canada. Historica Foundation, 2012-. Accessed February

25, 2014. http://www.thecanadianencyclopedia.com/en/article/udo-

kasemets-emc/.

David Keane (b. 1943)

Corvus

Composed 1984

Three Movements: Allegro, Tranquillo, Vivace

Commission: Jasper Trio: Stephan Bryant (violin), Colin Ryan (violoncello), Janet Scott-

Hoyt (piano)

with Sue-Jane Bryant (viola)

Dedication: Jasper Trio and Sue-Jane Bryant

Extended

Techniques:

Prepared piano (“8 ½ x 11 stiff typing board paper” to be placed on strings)

Finger damping of strings in piano



Comment: According to the composer’s program note on the score, he began work on

this piece while in residence at the Banff Centre. Corvus is the Latin word for

“crow”, and the piece was inspired by the rhythmic, three-note call of a crow

Keane heard while taking walks around the Banff centre in winter. The “crow

motive” of three eighth notes is heard first in the piano at the very beginning

of the piece and is used as a point of departure for the work. The third

movement also begins with a statement of the motive, this time played in

unison by the strings, which gives the work a cyclic quality.

26

Talivaldis Kenins (1919-2008)

Piano Quartet No. 1

Composed 1958, Revised 1972, Duration 19’

Three Movements: Moderato e espressive, Largo sostenuto, Vivace e

marcato

Performances: 1966, New York Town Hall, New York, NY: Norma Auzin, Francis Tursi,

Robert Leonard, Robert Silverman (CMC)

24 February 1978, Music at the Centre Festival Series, Toronto Town Hall,

Toronto, ON: Quartet Canada: Steven Staryk, Gerald Stanick, Tsuyoshi

Tsutsumi, Ronald Turini (G&M)

2 February 1989, Jane Mallett Theatre, St. Lawrence Centre for the Arts,

Toronto, ON: Les Amis Concerts (TS)



Recordings: Kenins, Talivaldis. Kenins Anthology. RCI ACM 33-CD, 1997. 4 CDs. Disc 2.

Ovation: Volume 3. CBC Records PSCD2028-52003. 5 CDs. Disc 2.

Archival recording available from the CMC:

http://www.musiccentre.ca/centrestreams/swf?mode=play_by&opt=id&id=809.

Comment: All three movements of the piece are divided into smaller sections of differing

tempos, indicated by both Italian terms and metronome markings. The first

movement contains quick passages in all parts but especially in the piano, and

the second movement begins with muted strings and contrasts the strings and

piano as two groups. The final movement begins with three-against-two cross-

rhythms and also contains staccato repeated notes that are passed around the

various instruments.

Available

References:

Keillor, Elaine. “Talivaldis Kenins.” In The Encyclopedia of Music in Canada.

Historica Foundation, 2012-. Accessed March 24, 2014.

http://www.thecanadianencyclopedia.ca/en/article/talivaldis-kenins/.

27

Talivaldis Kenins (1919-2008)

Piano Quartet No. 2


Three Movements: Agitato assai e quasi feroce, Adagio dolce espressivo,

Intrada

Commission: Australian-Latvian Arts Festival and the New England Chamber Ensemble

Dedication: New England Chamber Ensemble

Premiere

Information:

New England Chamber Ensemble, Sydney, Australia

Additional

Performances:

10 February 1980: Izpilda New England Ensemble, RadioBern broadcast



Recordings: Talivaldis Kenins. Performers Paul Meyer, Steven Dann, David

Hetherington, and William Aide. Centrediscs CMCCD 5997, 1997. CD.

Archival recording available from the CMC:


Comment: While the piece does not use extended techniques per se, there are a number

of unusual features. The first movement contains the direction for the cello

and viola to slap the strings, and the piano has a solo unmeasured section.

The first movement also contains harmonics in the strings, and quick

sixteenth note figures in all parts. The second movement is to be played

“con sordino, sul tasto, senza vibrato” in the strings and is written in 5/4

time. Later on in the movement, the time signature changes to alternate bars

of 5/4, 4/4, and 3/4 time. The third movement contains semitone trill

glissandos in the strings and also an aspect of indeterminacy. In one section,

the strings are instructed to play “random unco-ordinated pizzicato changing

pitches constantly in [the] given range” and also “any convenient sixteenth

note runs up and down changing scales constantly”, while the piano is to

play “random chords” of four or five notes. The work is unique in that is was

commissioned and premiered outside of Canada, and was included on a 1997

recording that was included in the Globe and Mail’s list of “10 notable

classical recordings” in 1997.

Available

References:

Keillor, Elaine. “Talivaldis Kenins.” In The Encyclopedia of Music in

Canada. Historica Foundation, 2012-. Accessed March 24, 2014.

http://www.thecanadianencyclopedia.ca/en/article/talivaldis-kenins/.

28

Mieczyslaw Kolinski (1901-1981)

Chamber Sonatina


Three Movements: Allegro, Andantino, Allegro



Comment: The first movement contains sections of alternation between strings and

piano, but also sections of rhythmic unison in all parts. The second

movement begins with strings alone, with the piano first entering in the bass

register and remaining there for most of the movement. The third movement

begins with a duet between the violin and viola, followed by a short section

of just cello and piano before the instruments all play together.

Available

References:

Diamond, Beverly. “Mieczyslaw Kolinski.” In The Encyclopedia of Music in


http://www.thecanadianencyclopedia.com/en/article/mieczyslaw-

kolinski-emc/.

Peter Paul Koprowski (b. 1947)

Piano Quartet


Two Movements: Yang and Yin

Commission: Commissioned by Quartet Canada (Steven Staryk, Gerald Stanick, Tsuyoshi

Tsutsumi, and Ronald Turini) with a grant from the Canada Council



Comment: The notes of the piece are written on a traditional staff, but there are extra

indications for accidentals and bow strokes that are explained in a legend at

the beginning of the score. In the first movement, the phrases are mostly

measured by their duration in seconds rather than in traditional rhythmic

notation, so the composer instructs each player to use a full score in order to

ensure co-ordination. Many of the timings are relative, so there is an aspect

of indeterminacy in the piece, and many of the entries are marked by cues

from other instruments rather than exact timings. The second movement

uses more traditional rhythmic notation, but also contains unmetered

sections. It contains large tuplets and fast motion in all parts, and ends ffff

with a sforzando on the final note.

Available

References:

“Peter Paul Koprowski.” Last modified 2012. Accessed December 29, 2013.

http://ppkoprowski.com/.

Keillor, Elaine. “Peter Paul Koprowski.” In The Encyclopedia of Music in


http://www.thecanadianencyclopedia.ca/en/article/peter-paul-

koprowski/.

29

Jeanne Landry (1922-2011)

Quartette pour violon, violon II ou alto, violoncello et piano

Three Movements: Lent, mais avec mouvement, Tendrement élégiaque,

Joyeux

Dedication: Marc Landry (composer’s son)

Score Availability: Commercially published score: Saint-Nicolas, QC: Doberman-Yppan, 1999.

Recordings: Recording samples available at publisher’s website:

http://www.dobermaneditions.com/en/sheet-music-for-

ensembles/c378081929/c378102674/p17263928.html.

Comment: The piece is formally scored for two violins, cello, and piano, but notes that

the second violin can also be replaced by viola. It is clearly tonal and

rhythmically accessible, and uses classical compositional techniques.

Available

References:

Potvin, Gilles. “Jeanne Landry.” In The Encyclopedia of Music in Canada.


http://www.thecanadianencyclopedia.com/en/article/jeanne-landry-emc/.

Anne Lauber (b. 1943)

Piano Quartet


Four Movements:Largetto-Allegro, Moderato, Adagio, Allegro con brio

Commission: Commissioned by Quartet Canada (Yuri Mazurkevich, Gerald Stanick,

Anthony Elliott, and Ronald Turini) with support from the Canada Council

Dedication: Quartet Canada

Premiere

Information:

16 July 1989, Victoria Festival, Victoria, BC: Quartet Canada (comp.)

Additional

Performances:

27 February 1990, Arts and Letters Club, Toronto, ON, Les Amis Concerts

(TS)

Score Availability: Score available for loan or purchase from the CMC:


Comment: According to the composer, this piece blends tonal, modal, and atonal

sections. The second movement begins with a piano solo and contains short

piano solos throughout. The third movement features sustained sections in

the strings with a faster moving piano part, and the fourth-ending with an

accelerando al fine- requires quick passagework in all parts.

Available

References:

Ware, Evan, and Mireille Gagné. “Anne Lauber.” In The Encyclopedia of

Music in Canada. Historica Foundation, 2012-. Accessed December

29, 2013. http://www.thecanadianencyclopedia.com/en/article/anne-

lauber-emc/.

“Anne Lauber.” Last modified 2013. Accessed December 29, 2013.

http://www.annelauber.com/Anne_Lauber/Home.html.

30

Robert Lemay (b. 1960)

À tout prendre : Hommage à Claude Jutra


Six Movements

Commission: Tricorde de l’Université Laval (Michiko Nagashima (violin), Chantal

Masson-Bourque (viola), Hugette Morin (violoncello)) and Yoko Hirota

(piano)

Premiere

Information:

April 1996, Maison de la culture, Frontenac, QC : Tricorde de l’Université

Laval and Yoko Hirota (comp.)

Additional

Performances:

June 1996, Canadian Embassy, Tokyo, Japan: Tricorde de l’Université

Laval, Yoko Hirota (comp.)

June 1996, Fuchu Art Theatre, Tokyo, Japan: Tricorde de l’Université Laval,

Yoko Hirota (comp.)

January 1998, Greenwich House: New York, NY: MANY string trio and

Yoko Hirota (comp.)

October 1999, Prague, Czech Republic: Ensemble Resonance (comp.)

February 2011, 5-Penny New Music Concerts, Sudbury, ON: Silver Birch

String Quartet, and Yoko Hirota (comp.)



Recordings: Archival recording available from the CMC:


Comment: The piece is written in homage to the French Canadian film director, Claude

Jutra. À tout prendre was the title of a film Jutra directed in 1963. Of the six

miniatures, only four are for both piano and strings; the third piece is for

piano alone, while the fifth is scored only for strings The piece contains

various directions for the strings, including jeté, col legno battuto, and sul

pont. The string parts also contain harmonics, and the third and sixth

movements contain unmetered senza tempo sections. The metered sections

contain complex rhythms throughout, with shifting meter, additive meter,

and syncopations.

31

Michael Matthews (b. 1950)

Piano Quartet


One Movement

Commission: Commissioned by the Agassiz Summer Chamber Music Festival

Premiere

Information:

21 June 2004, Agassiz Summer Chamber Music Festival Opening Gala

Concert, Eckhardt-Gramatté Hall, Winnipeg, MB: David Stewart,

Aaron Au, Paul Marleyn, Stéphane Lemelin (CMC)


http://musiccentre.ca/node/27343.

Score excerpts available from the composer’s website:

www.michaelmatthews.net

Recordings: Recording samples available from the composer’s website:

www.michaelmatthews.net

Comment: Though the piece is comprised of only one movement, it explores a variety

of different moods. It begins fff in the piano and ppp in the (muted) strings.

There are a number of tempo changes, indicated by metronome markings,

throughout, and quick passages in all parts. Many of the piano figures

involve octaves in one or both hands and syncopations. The piece also

features ostinato accompanying figures in one part while a different part

plays a melody, and cross rhythms of two against three and three against four

in different parts.

Available

References:

“Michael Matthews.” Last updated 2013. Accessed December 30, 2013.

www.michaelmatthews.net.

Rosemary Mountain (b. 1954)

Ambar


Premiere

Information:

1999, University of Aveiro, Aveiro, Portugal: Kandinsky Quartet (comp.

web.)



Recordings: CBC archival recording available from the CMC:


Comment: This work was written near the end of the composer’s time living and

working in Portugal as a professor at the University of Aveiro, for a concert

by the visiting Kandinsky Quartet from Barcelona. The style is quite free

throughout; it contains unmetered sections measured by duration in seconds

rather than standard rhythmic notation, and also “irregular ad lib” rhythms in

the piano part, to be played on specified pitches. The title is the Portuguese

word for amber, and describes the music’s idea of being suspended.

Available

References:

“Rosemary Mountain: Composer and Musicologist.” Last modified 2013.

Accessed December 31, 2014. http://armchair-researcher.com/.

32

Kelly-Marie Murphy (b. 1964)

Four Degrees of Freedom

Composed March-May 1995, Duration 7’

Commission: Millennium Piano Quartet (Martin Beaver, Scott St. John, Shauna Rolston,

Rena Sharon) with support from the Canada Council

Premiere

Information:

29 September 1995, Cumberland Town Hall, Cumberland, ON: Millennium

Piano Quartet (CMC)

Additional

Performances:

12 February 1999, rESOund Festival, Edmonton, AB (EJ)

16 March 2004, Convocation Hall, University of Alberta, Edmonton, AB:

Lands End Chamber Ensemble (EJ)

11 February 2008, Walter Hall, University of Toronto: Erika Raum, Teng Li,

David Hetherington, Lydia Wong (TS)

Extended

Techniques:

Hand-damped strings in piano



Recordings: Lands End Chamber Ensemble. Four Degrees of Freedom. Dark Matter

Productions, 2004.

CBC archival recording available at the CMC:


Comment: According to the composer’s program note on the first page of the score, the

piece is inspired by the physical concept of degrees of freedom, the different

ways objects are able to move, and by the way this can be viewed as a

metaphor for personal freedoms in life. There is an aspect of indeterminacy in

the work, as performers must play the notes on the score but have some

flexibility in terms of timing and musical interpretation, and every

performance is intended to be different. It contains unmetered sections and

chromatic clusters, which contribute to the indeterminacy. The work was the

winner of the Maryland Composers Competition in 1998.

Available

References:

“Kelly-Marie Murphy: Composer.” Last modified 2013. Accessed December

6, 2013. http://kellymariemurphy.com/.

33

Barbara Pentland (1912-2000)

Piano Quartet


Four Movements: Allegro moderato, Scherzo, Andantino tranquillo,

Finale

Premiere

Information:

12 March 1941, Wednesday Morning Musicale, Fort Garry Hotel, Winnipeg,

MB: Mary Gussin, Mary Graham, Bruno Schmidt, Barbara

Pentland (Eastman)

Additional

Performances:

2 May 1941, Vogt Society, Toronto: Eugene Kash, Cecil Figelski, Philip

Spivak, Reginald Godden (Eastman)



Comment: Often overshadowed by her 1983 piano quintet and her three string quartets,

the quartet dates from the end of Pentland’s graduate studies at Juilliard,

while she was studying with Bernard Wagenaar. She had not yet been

introduced to serialism and the music of Webern, and this piece follows the

neo-Classical style of her earlier works. It is rhythmically straightforward

throughout, though the second movement is written in 5/4 time. The second

and fourth movements both feature short piano solos.

Available

References:

Eastman, Sheila Jane. “Barbara Pentland: A Biography.” Master’s thesis,

University of British Columbia, 1972. Accessed February 22, 2014.

http://hdl.handle.net/2429/18890.

Winters, Kenneth, Betty Nygaard King, and John Beckwith. “Barbara

Pentland.” In The Encyclopedia of Music in Canada. Historica

Foundation, 2012-. Accessed January 1, 2014.

http://www.thecanadianencyclopedia.com/en/article/barbara-lally-

pentland/.

Monte Keene Pishny-Floyd (b. 1941)

Piano Quartet


Two Movements: Prelude (Chaconne on a Sarabande) and Fugue

Premiere

Information:

22 March 1996, Baird Hall, State University of New York, Buffalo, N.Y.: L.

Herbert, S. Benson, S. Smith, M. Mitzutani (CMC)



Comment: The prelude begins with the chaconne theme introduced by the piano alone.

The theme includes many syncopations and hemiolas within the 3/2 time

signature. The opening section is contrasted with a more rhythmically

simple grazioso section written for strings alone, which then returns to the

stately opening character in all instruments. The lengthy fugue begins with

the violin and piano stating the subject in unison, followed by entries in the

34

viola and cello. The fugue also contains a second and third subject, which

are introduced by the piano and cello respectively and are clearly labelled in

the score to facilitate analysis.

Available

References:

“Monte Keene Pishny-Floyd.” Last modified 2006. Accessed January 1,

2014. http://www.pishny-floyd.blogspot.ca/.

MacMillan, Rick. “Monte Keene Pishny-Floyd.” In The Encyclopedia of

Music in Canada. Historica Foundation, 2012-. Accessed January

1, 2014.

http://www.thecanadianencyclopedia.com/en/article/monte-keene-

pishny-floyd-emc/.

David R. Scott (b. 1962)

Test Patterns


Two Movements

Commission: Commissioned by Ensemble Mondetta (Horoko Kagawa, David Visentin,

Arkadiusz Tesarczyk, Claudia Chen)

Premiere

Information:

1997, Winnipeg, MB: Ensemble Mondetta (comp. web.)

Score Availability: Via the composer: www.davidrscott.com.

Recordings: Premiere recording available from the composer: www.davidrscott.com.

Comment: The premiere of the piece took place during the Year of Asia Pacific, and

was part of a concert to celebrate the event. The first movement, marked

quarter note equals 69, employs sixteenth note tuplets in the piano and

contains very specific pedal markings. The second movement is in a slow

tempo (quarter note equals 60) and contains almost constant eighth note

triplets in the cello, which are based on intervals of fifths. The triplet

contrast with quarter note triplets in the piano and slower moving rhythms in

the upper strings.

Available

References:

“David R. Scott: Composer.” Last modified 2014. Accessed January 1, 2014.

http://www.davidrscott.com/.

35

Alexander Simon (b. 1986)

Two Preludes

Composed 2009, Revised 2011, 2013-14, Duration 8’

Two Movements: The Second, Okinawa

Dedication: Yagi Akihito

Premiere

Information:

29 November 2013, Philip T. Young Recital Hall, University of Victoria,

Victoria, BC: Jiten Beairsto, Matt Antal, Ella Hopwood, Alexander Simon

(first movement only) (comp.)

Score Availability: Via the composer: [email protected].

Recordings: Premiere recording available at: www.soundcloud.com/trakk00.

Comment: The first movement is rhythmically and technically accessible with a time

signature that shifts between 3/2 and 4/2. The title of the second movement

references the Okinawa islands of southern Japan, and the movement is

based on the pentatonic scale used in traditional Okinawan music (do mi fa

so ti). However, it also introduces notes that do not belong to the scale and

as such, according to the composer, it is meant to pay homage to Okinawan

music and culture without attempting to be an authentic imitation.

Alexander Simon (b. 1986)

Suite for Piano Quartet

Composed 2009-2014, Duration 26’

Five Movements: Prelude, Allemande and Fugue, Curioso, Scherzo,

Postlude

Premiere

Information:

18 December 2009, Regina Conservatory Recital Hall, Regina, SK: Jeremy

Buzash, Melody Yee, Amelia Borton, Cameron MacLaine (first movement

only) (comp.)

Additional

Performances:

13 April 2010, DF Cook Hall, Memorial University of Newfoundland, St.

John’s, NL: Brooke Stewart, Megan Buffett, Jonathan Mong, Michael Lee

(first movement only) (comp.)

Score Availability: Via the composer: [email protected].

Comment: According to the composer, the piece is intended to represent a variety of

aspects of his musical heritage including both Classical and popular styles.

The overall form references Baroque dance suites, and the individual

movements contain references to the modality of early music and the “power

chords” and synth pads of heavy metal music. The work is unique from

many other piano quartets in its focus on the viola as the main instrument in

the ensemble.

36

William Wallace (b. 1933)

Prelude and Toccata


Two Movements: Adagio, Allegro moderato



Recordings: CBC archival recordings available from the CMC:


Comment: The short prelude begins with a viola solo and is scored for strings only. It

transitions attacca into the much longer toccata, where the strings continue

to function largely as a group. The piano writing throughout the toccata is

quite diverse, with single notes, dense chords, and quick flourishes in the

high and low registers. Towards the end, the composer introduces rapidly

changing meters and additive meters, mainly 3+2+3.

37

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