In an inconspicuous Canadian city due north of Minnesota, at times a meeting point between Fahrenheit and Celsius, the people of Winnipeg bundle up and refuse to let the elements deter them from participating in one of the largest new music festivals in the world. During the festival, spanning from January 27 to February 2, , famed composers such as Philip Glass were programmed along with young and up-in-coming composers such WSO Composer-In-Residence Harry Stafylakis , and more. Elements that make other Glass works successful seemed to be absent, and technical skills were lacking at times. While Glass seemed to have been reaching for unexplored harmonies, the awkward counterpoint between the violins and fragmented blocks of rhythmic gestures left an uninspired impression. Haas brilliantly orchestrates whirling colors through subtle manipulation of pitch, projecting a raw yet tangible aura that swallows the atmosphere. In an enduring procession of aggressive and jagged rhythmic counterpoint, JACK unapologetically wove together intricately tied fragments passed amongst the ensemble without a misstep, a masterful display of ingenuity. With a vibrant sound world, Moussa whirls together passionate harmonic progressions with thoughtful melodic development. The opening of the second movement begins with breathtaking contrast, as the horns and tubular bell slowly separate in pitch, revealing beating patterns and eventually become integral to the harmonic structure. Moussa displays an audacious sense of time, often extending chords and harmonies past expectation—the subversion of which proved worthwhile when the desired contrast was met with a greater sense of relief.
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An unforgettable week filled to the brim with wonderful music, emotions, exciting encounters and utmost concentration, it was one of the most significant events in my professional career. I am delighted to welcome you to the new edition of the Winnipeg New Music Festival! I invite you to discover a seemingly endless array of musical styles and remarkably talented composers and performers. And how about having two distinguished guest composers? The fourth edition of the WNMF Composers Institute will present the new generation of Canadian composers and their vision of the future in orchestral music. I am also particularly looking forward to a performance by Tigran Hamasyan and collaboration with his trio. When you can recognize an artist from listening to just a few notes — you know that something unique is in the air. The opportunity to perform music that I have previously commissioned and premiered is very personal to me. It is a stimulating challenge to develop a feel for what musical territories have already been explored — or have begun to be explored — and to build on those traditions, while finding new creative avenues to traverse.
WSO New Music Festival
Login or register to start creating your own playlist! Fostering connection, deepening knowledge, and encouraging support for a diverse constituency of new music practitioners and appreciators in the United States. Though I was born in Montreal and lived through its blistering winters for almost three decades, five years of temperate NYC weather had dulled my hibernal instincts: I showed up with a slick coat best suited for a reasonable East Coast urban setting, wearing cowboy boots…. Fahrenheit or Celsius, you ask? But yeah, Celsius. WNMF would come up in conversation among the contemporary music intelligentsia and would show up sporadically in the webosphere. News would filter out about major composers and artists being involved, and the WSO had recently made its Carnegie Hall debut performing exclusively contemporary Canadian music. I was expecting something cool but fairly low-key.
Finding your information. Hey there, time traveller! The 29th annual Winnipeg New Music Festival served notice Saturday its latest incarnation will be powered by the exhilarating highs and plummeting depths of the human condition. Composed an astonishing 93 years ago in , it bristles with the same visceral energy of a piece with its ink still wet. Raiskin drove the players hard throughout the hulking, heaving "machine-music" piece fuelled by motoric, repetitive riffs that paved the way for later "minimalism," with only a short "trio" reprieve sandwiched between its two outer sections. Evocative touches of a mariachi band, performed by offstage brass, underscore its nostalgic ethos. The finale, Assembly Line , further showed off his dazzling bravura, including rapid-fire figuration and multiple stops tossed off like a man possessed. As expected, the crowd of 1, leapt to its feet at the end, leading to an encore that included Hallelujah by the immortal Leonard Cohen, accompanied by a string quartet comprised of WSO principal players. The mostly solemn evening was filled with American references — we visited North Carolina, Michigan, Florida and New York throughout the offerings — had a side of the Soviet Union, Mexico was thrown in for good measure and there was a passing nod to la belle province. However, the minute work morphed into a deeply moving elegy for her beloved father who died tragically during its composition.