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Title: Sorex 
Instrumentation: piano duo
Performers: junctQín piano ensemble from their CD reTHINK; 
Program note:
Sorex (2010) was commissioned by the Fung-Chiu Duo for a program of piano four-hand pieces based on the works of Shakespeare, and I took my inspiration from The Taming of the Shrew – not from the content of the play, but from the title. I’d always been a bit puzzled by the idea of shrews (Sorex araneus), whether real or metaphorical, as something that needs taming, since they’re actually pretty amazing animals, and their feistiness is an essential part of that. They’re one of the most common mammals, but we almost never see them. They’re tiny (5-10 grams), but fierce, aggressively defending their territory against any intruders. They must eat every two to three hours to survive, eating up to three times their body weight every day. Their sense of smell is so good they can locate prey buried up to half a foot under the ground. Some species of shrews are even venomous! Although shrews are quite vocal, this lively, scampering piece is based not on the vocalizations but on the character of the shrew.

http://www.emilydoolittle.com

Emily Doolittle - Sorex

Stroobach's composition entitled "Dark Blue", composed for alto saxophone and piano, was recorded onto the composer's CD entitled "Aurora Borealis"  (https://collections.cmccanada.org/final/Portal/Composer-Showcase.aspx?component=AF-Query-Composer&record=eb48a3f6-04d5-42cd-9de6-092a8b5ca83f&lang=en-CA). For this recording Doug Martin performed the alto saxophone and Evelyn Stroobach played the piano.

"Dark Blue" was performed in a Contemporary Ensemble concert at the University of Ottawa, on March 28th, 2008. Caitlin Little performed the alto saxophone and Kieran Coulter played the piano.

On August 1st, 2007, two of Stroobach's compositions were performed at the Ottawa International Chamber Music Festival. Garry Elliot performed her work for solo guitar entitled "Petition". "Dark Blue" was also performed. Victor Herbiet performed the alto saxophone and Fred Lacroix the piano. The Ottawa festival is the largest chamber music festival in the world. 

"Dark Blue" has also received several radio broadcasts in the United States and Europe.

Evelyn Stroobach is a professional musician and an award winning, published composer. She is currently a PhD candidate in Music Composition in the UK. Stroobach has won regional, national and international awards for her works.  Recently, Stroobach was honoured in the Senate and the House of Commons at the Houses of Parliament in Ottawa, Canada for her participation as composer on the newly released "Aboriginal Inspirations" CD (www.musiccentre.ca/node/147580).

Stroobach’s compositions have been performed in Canada, the United States, South America, Europe (Austria, Bulgaria, the Czech Republic, France, Germany, Italy, Moldova, the Netherlands, Poland, Romania, Switzerland and Ukraine) and Asia. Her orchestral works have been performed by the Czech Philharmonic in Prague, the Zabrze Philharmonic in Poland, the Euroamerican Newartmusic Sinfonietta of Vienna, Camerata Europaea: Orchestra of the European Union in Berlin, the Ukrainian State Symphony Orchestra in Kiev, the Kharkov Philharmonic Orchestra in Ukraine, the National Philharmonic of Romania, Oradea Philharmonic Orchestra of Romania, the Ploiesti State Philharmonic of Romania, the Bacau Philharmonic of Romania, the Constanta Symphony Orchestra of Romania, the Pleven State Philharmonic of Bulgaria, the National Symphony Orchestra of Teleradio-Moldova in Chisinau, Moldova, the Karaganda State Symphony Orchestra in Kazakhstan, the Tutti Maestro Orchestra of Venezuela, the Eddy Snijders Orchestra of Suriname, the Thunder Bay Symphony Orchestra of Canada, the North Bay Symphony of Canada, the Hamilton Philharmonic Orchestra of Canada, the Ottawa Symphony Orchestra and the Thirteen Strings of Ottawa, Canada. 

Her choral works have been performed by the Kyiv Chorus and the National Opera Chorus in Kiev, Ukraine as well as by instrumentalists from Kiev National Philharmonic, by the Harmonia Choir of Ottawa and by the Bach Elgar Choir of Hamilton, Canada.

Stroobach has had her compositions performed at the Ottawa International Chamber Music Festival, National Gallery of Canada, in the Senate and in the Peace Tower at the Houses of Parliament in Ottawa, Canada, at the Wabano Centre in Ottawa, Canada, at the Shenkman Arts Centre in Ottawa, Canada, at the Saint John Arts Centre in New Brunswick, Canada, Ars Universalis: Culture Days and the National Palace of Culture in Sofia, Bulgaria as well as many other concerts halls around the world. Her compositions have also been performed in concerts held at the University of Literature & Philosophy, in Rome, Italy, Indiana University, University of Central Missouri, the University of Ottawa, Lakehead University and Saint Thomas University.

Read her full bio here:
https://collections.cmccanada.org/final/Portal/Composer-Showcase.aspx?component=AAIL&record=eb48a3f6-04d5-42cd-9de6-092a8b5ca83f

Evelyn Stroobach - Dark Blue

"Golden Hour" for french horn and piano. Composed in 2020. Recorded remotely by Eric Reed (horn) in New York City and Brian Barber (piano) in Toronto. 

The “golden hour” is the last hour of light before sunset. The early ideas for this piece came to me during a long drive from New York City to Toronto. We had left the NYC area in time to drive through the rolling hills of upstate New York during this magical time of day. We were treated to an incredible display of colours dancing among the clouds and golden light just pouring over the area and warming our faces. I let the ideas sit for several months, until experiencing a similar drive on the opposite side of the continent in Yosemite National Park. 

Driving up to the lookout at Glacier Point, we weren’t sure if we would make it to the top in time for sunset. It felt like a race against time, trying to ascend the steep mountain roads before the sun made its descent below the horizon. When we arrived at the lookout, it was as if the sky was on fire. The next few minutes led to a beautiful and calm glow before fading into dusk. The music in "Golden Hour" represents both of these memorable sunset experiences.

https://caitnishimura.com

Cait Nishimura - Golden Hour

Taking Flight

In Moonlight (feat. Lorna Crozier, Doriann Forrester & Esther Ewing)

Gordon Slater, Carillon
performed at the Peace Tower Carillon at the Houses of Parliament in Ottawa, Canada

As part of celebrating Canada’s 150th birthday, Stroobach’s composition entitled "Daydream" composed for carillon received a performance on July 18th, 2017 at the Peace Tower Carillon at the Houses of Parliament in Ottawa, Canada by Gordon Slater, the former Dominion Carillonneur, during his summer Carillon Recital.

"Daydream" received its Canadian premier on January 29th, 2004 at the Peace Tower Carillon at the Houses of Parliament in Ottawa also performed by Gordon Slater. Mr. Slater also performed "Daydream" at the Peace Tower Carillon for a recording session which took place on May 5th, 2004. The work has been recorded onto Stroobach's CD entitled "Aurora Borealis" (https://collections.cmccanada.org/final/Portal/Composer-Showcase.aspx?component=AF-Query-Composer&record=eb48a3f6-04d5-42cd-9de6-092a8b5ca83f&lang=en-CA). Gordon Slater has performed "Daydream" at least eleven times since the premier.  In 2004 Mr. Slater included the work as part of his summer concert series at Parliament Hill. 

On September 23rd, 2010, Dr. Andrea McCrady, Canada's new Dominion Carillonneur, performed "Daydream" at the Peace Tower carillon. Dr. McCrady performed the work again in November 2010 and on January 28th, 2011.

Previously, Dr. Brian Swager, music professor at Indiana University, performed "Daydream" during his European recital tour at the "Oude Kerk" in Amsterdam, in Breda, the Netherlands as well as at recitals given in the United States.

"Daydream" has also received several radio broadcasts.

Evelyn Stroobach is a professional musician and an award winning, published composer. She is currently a PhD candidate in Music Composition in the UK. Stroobach has won regional, national and international awards for her works.  Recently, Stroobach was honoured in the Senate and the House of Commons at the Houses of Parliament in Ottawa, Canada for her participation as composer on the newly released "Aboriginal Inspirations" CD (www.musiccentre.ca/node/147580).

Read Evelyn's full bio and more, here:
https://collections.cmccanada.org/final/Portal/Composer-Showcase.aspx?component=AAIL&record=eb48a3f6-04d5-42cd-9de6-092a8b5ca83f

Aurora Borealis

Evelyn Stroobach - Daydream

Wesley Shen, harpsichord
January 18, 2019, Toronto, ON

"Toile de Jouy" (or simply “toile”) refers to a type of decorating pattern in which a complex scene is depicted and repeated on a simple, usually white background. It originated near Versailles in the mid-18th Century and was extremely popular, perhaps in part because a ban on cotton in France had just been lifted. The scenes depicted on the fabrics were often pastoral or historical, such as the flight of the first hot air balloon. In "toile de jouy", I wanted to explore the complexity and ornateness of this type of design. The textile required a vast amount of creativity and technical detail to pull off - it is perhaps one of the most virtuosic fabrics of its time. The harpsichord is the perfect Versaillesian conduit to embody this rococo textile.

http://www.monicapearce.com

Compositions

Monica Pearce - Toile de Jouy

Harbour Symphony (1986)
By Hildegard Westerkamp

It sounded like a herd of happy elephants caught in a traffic jam. —Globe and Mail
Is it going to sound like Oh Canada? —Richmond Review.
Mere words are inadequate to describe what took place when the Symphony began. —
Harbour and Shipping Magazine.

On May 2nd 1986, nearly 150 boats of all sizes and shapes gathered in Vancouver Harbour around Canada Place to perform the first–ever Vancouver Harbour Symphony for boathoarns. The piece was composed on commission from the Canada Pavilion for its Expo 86 opening. It is probably the largest environmental music event ever to be mounted in Vancouver.

Special thanks to Bernard Bomers, Special Events Coordinator for the
Canada Pavilion, who first conceived and commissioned the event; Joe Carter for pioneering the Harbour Symphony idiom (on a smaller scale) in St. John’s Newfoundland, and for helping direct and conduct this one; to Brian Lewis, Marine Consultant, and Mary Jane Green, Logistics Coordinator. Special thanks also to Vancouver’s Marine Community for participating so enthusiastically in all facets of the event and for performing vigorously; to Bob Swanson who designed, and who’s company Airchime made most of the boat horns heard in
this piece; and finally to Ina Dennekamp for playing on Swanson’s horn-set the beginning of Song of the Sockeye, put to melody by Phil Thomas, based on a poem found on a notice board in River's Inlet and written by an unknown fisherman describing his life in the 1930s.

Final thanks go to the late Howard Broomfield, as well as to Victoria
Fenner, Peter Thompson, and Leon Wolf, who recorded the live performance of the Harbour Symphony in the following places in and around the harbour: on the water from one of the participating boats, in the Main Street docks area, in Stanley Park near the nine-o’clock gun and on Canada Place.

In this version you are hearing a mix of these recordings, plus the radio communication before the piece begins and after the conclusion of the event, when the many boats are directed to leave the harbour in a coordinated fashion.

The Harbour Symphony was composed in memory of my brother, Helmut Westerkamp, who, as a cadet sailor on the German training ship “Pamir,” went down in a hurricane in the mid-Atlantic on September 21, 1957.

https://hildegardwesterkamp.ca/

Hildegard Westerkamp - Harbour Symphony

Breathing PwRHm by Tina Pearson is a new development of a work commissioned by the Deep Listening® Foundation. An electronic work for live performance, it explores two facets of multi-user 3D environments: presence and intimacy between visceral, virtual and telepathic worlds; and the electric hum – the voice of the power grids that make it possible for us to connect in this way. Sonically, it explores the relationship of the Alternating Current (AC) of the North American (60 Hz) and European/Asian (50 Hz) electric systems through two sets of sine tones representing the harmonic series of the two ACs. The result is a slowed down world of just-intonation harmonies, beat frequencies, and microtone textures as the two systems meet inside a natural minor third. In performance, the remotely located performers’ individual breath rhythms determine the timing and pacing of tones they each play; the Europeans’ cue is their exhale, the North Americans’ cue is their inhale. Enhancing the breath theme, the lower sine tones have a duration approximating a slow human breath cycle. This breath-centred performance practice simultaneously focuses and extends the players’ attention while providing temporal structure and pacing for the piece. Globes held by the avatars are 'receivers' that emit differently coloured particles according to their particular AC instrument, and the pitch and volume of the specific sounds they each play in real time. Avatar animations, choreography, real time conducting, and the telematic symbiosis of the globally dispersed players create a kind of surreal entrainment inside the wired worlds that power our connectivity, and point to its precariousness - the electronic sounds pass through the ethernet with periodic glitches, computer malfunctions, latency and other technical and serendipitous factors that make the performance of the piece unpredictable.

Recorded from a performance broadcast simultaneously with Digital Shift (Independent Media Arts Alliance), Digital Arts Resource Centre (Ottawa), MediaNet (Victoria) and Manifestations 2020, Eindhoven, Netherlands, October 2020.
Video and audio recording by Dan Dan Kaunisviita and Jason Sonier.
Audio edits by Tina Pearson.

Performed by 

Miulew Takahe / Björn Eriksson, Sollefteå, Sweden

JORI Tokyo / Johannes Riedmann, Regensburg, Germany

Maxxo Klaar / Max D. Well, Regensburg, Germany

Paco Mariani / Chris Wittkowsky, Regensburg, Germany

Gumnosophistai / Leif Inge, Oslo, Norway

Cuirec d'Erc / Harald Muenz, Cologne, Germany

Frieda Korda / Frieda Kuterna, Antwerpen, Belgium

FredMadison / Gema FB Martín, Madrid, Spain

Zonzo Spyker / Viv Corringham, New York, USA/ London, UK

North Zipper / Norman Lowrey, Kingston, NY, USA

Humming Pera / Tina M. Pearson, Victoria, BC, Canada

https://tina-pearson.com/
https://lasammusic.wordpress.com/

Tina Pearson - Breathing PwRHm

"Begin" for unaccompanied girl's choir.

Performers: Raise Her Voice from Oakville Choir for Children and Youth

Performance venue and date: July 1st, Podium on the Edge Canadian Choral Festival "Float" event, St. John's NFL.

Duration: 06:36

Program note: 
Begin is a 6’ composition for SSA a capella chorus. Based on Toronto writer Tanis Rideout’s poem “Begin”, music describes two young woman swimmers swimming across Lake Ontario in the 1950's. Sailing through the geological landscape of Lake Ontario, music expresses how nature and history defines the relationship we have with water. Theatre elements such as making sound effects, body percussion, and “rapping” of swim terminology are used to highlight the drama of the text. Written for “Raise Her Voice” girls chorus, this composition conveys an empowering message how young women faced and conquered huge challenge with perseverance and courage.
This work is commissioned by Choral Canada for Oakville Choir for Children and Youth with the support of the Canada Council for the Arts, New Chapter Canada 150 Grant. The work was selected for performance at the 2019 ISCM World Music Days in Tallinn, Estonia; one of the six works representing Canada.

https://www.alicepyho.com/

Alice Ping Yee Ho - Begin

"The Language of the Stars" (2019) by Katerina Gimon written for SATB choir, youth choir, and orchestra.

A setting of Martha Lavinia Hoffman's (1865-1900) "The Language of The Stars", a poem exploring the majesty and mystery of our night sky. This work was commissioned and premiered by Arcady Ensemble on October 26, 2019 in Brantford, Ontario.

http://www.katerinagimon.com

Laura Hawley - In Song

Like the Stars of the Sky - for SATB - from Cantata 160
Performed by Erb St Mennonite Church, Nov. 2011.

Cantata 160

Joanne Bender - Like The Stars Of The Sky

"Aurora Borealis" - composed for orchestra

In a review published in the "Journal of the International Alliance for Women in Music", Dr. Margaret Lucia wrote: “Aurora Borealis"…is a strong, well-crafted orchestral…fanfare and is very clearly Stroobach's signature work. Prominent timpani and brass are answered by violins in an antiphonal style. The middle section is somewhat reminiscent of Bartok's "Game of Pairs" (the second movement of his "Concerto for Orchestra") in the angular, intervallic writing for bassoon and clarinet.”

"Aurora Borealis" is written in the tradition of a Franz Liszt tone poem - a one movement programmatic work. The rhythmic motive of the sixteenth note followed by the quarter note, which is heard throughout, conveys the majesty and awe one feels when viewing the Northern Lights. The more sparsely orchestrated middle section blends the different woodwinds together with the strings, to illustrate the beautiful colours of the Northern Lights. I also deliberately used the higher pitches in many of the instruments to represent the fact that the magnificent display of the Aurora Borealis is high up in the heavens. 

"Aurora Borealis" was performed and recorded onto a compact disc of the same name (https://collections.cmccanada.org/final/Portal/Composer-Showcase.aspx?component=AF-Query-Composer&record=eb48a3f6-04d5-42cd-9de6-092a8b5ca83f&lang=en-CA) by the Ottawa Symphony Orchestra under the baton of Maestro David Currie. This project was awarded funding from FACTOR (Foundation to Assist Canadian Talent on Records), the Council for the Arts in Ottawa and the Corel Endowment for the Arts.

Since this recording "Aurora Borealis" has received seventeen performances by leading orchestras across Canada and Europe and has been broadcasted on radio stations around the world.

Evelyn Stroobach is a professional musician and an award winning, published composer. She is currently a PhD candidate in Music Composition in the UK. Stroobach has won regional, national and international awards for her works.  Recently, Stroobach was honoured in the Senate and the House of Commons at the Houses of Parliament in Ottawa, Canada for her participation as composer on the newly released "Aboriginal Inspirations" CD (www.musiccentre.ca/node/147580).

Read her full bio here:
https://collections.cmccanada.org/final/Portal/Composer-Showcase.aspx?component=AAIL&record=eb48a3f6-04d5-42cd-9de6-092a8b5ca83f

Evelyn Stroobach - Aurora Borealis

This Time, 1992

Performed by the Ardeleana Trio on Spinners of Starlight
Laurie Glencross, flute
Bonnie Shewan Jeffrey, piano
Brenda Muller, cello

"This Time is informed as simply and directly as possible by the heart. It is the unfolding of feeling through the careful choice of sonorities, through waiting and through periods of intense activity."
-Brenda Muller, cellist

Ann Southam - This Time

Jamilyn Manning White, soprano; Julia Klang, cello; Safron Chung, piano

Fiona Evison, music; Henry Rasof, text, adapted

December 2019, Mendelssohn Glee Club Winter Concert, New York City, New York

Here I Seek You - Fiona Evison

Kat en Muis
Erica Roozendaal, Accordion
August 1, 2020
Kaap Theatre, Oostende, Belgium

Sylvia Rickard - Kat En Muis

Through the Low Hills
Andrew Smith, cello
Stephen Clarke, piano
from the recording Memory Forms

https://www.catlinsmith.com/

Linda Catlin Smith - Through the Low Hills

New music for flute inspired by Canada's wild spaces.

Calling

Für Dich - For You (2005)
for 8 (or 2)-channel audio
by Hildegard Westerkamp
Commissioned by the Zentrum für Kunst und Medien (ZKM)
Premiere: August 16, 2002, Valhalla Summer School of Music, Silverton, BC, Canada

Full programme note:
https://hildegardwesterkamp.ca/sound/comp/1/foryou/

Hildegard Westerkamp - Für Dich - For You

Clarisse Tonigussi, soprano
Narmina Efendiyeva, piano

acwc.ca/members/edith-covach/

Cantata Argentina

Edith Covach - Te Recuerdo

Requiem for Judith
by Sylvia Rickard

Leslie Dala, piano 
Robyn Driedger-Klassen, soprano
Leah Giselle Field, mezzo soprano

"In 1997 I was in a small choir at the Victoria Conservatory of Music. My alto partner, Judith Harreman, was suddenly stricken with a fast-growing cancer. Treatment helped her recover for about 2 weeks, then she suddenly died. All of our choir members were filled with grief. Our teacher, Catherine Young, asked me if I would consider writing a song for Judith. I agreed heartily. My friend, Sheilagh Ogilvie wrote a poem “for Judith”. By strange coincidence Sheilagh’s orthodontic surgeon was Judith’s husband! Catherine Young, soprano and our mutual friend, Norma Selwood, mezzo soprano, and my friend, Toshiko Tampo, pianist, gave the first performance of this requiem at the Conservatory. We all loved Judith and we deplored her early demise; she had two teen-age children. I really felt sad while writing this song." - Sylvia Rickard

Watch here: https://youtu.be/RlXVHp3k9lo?t=3470

Sylvia Rickard - Requiem for Judith

Title: Winter's Tale
Instrumentation: Flute Alone
Composer: Colleen Muriel
Performer: Colleen Muriel 
Location of Performance: St. Peter's Church, West Molesey, Surrey, England
Date of Performance: February 13, 2010

elflauto.ca

Colleen Muriel - Winter's Tale

Indigo (suite for piano)

4 short movements. The names of these movements are -

Indigo
Blue in Green
Green in Blue
Jesus and The Ferryman

Composed by Colleen Muriel in 2014 
Performed by pianist  Eric Stevens in London, England 
Commissioned by Winifred Hall 

www.elflauto.ca

Colleen Muriel - Indigo

Glimmering Moonlight, piano solo, performed by Kathleen Feenstra, September 2022, at Kathleen's Piano Studio, Chilliwack BC.

www.sardispiano.com

Kathleen Feenstra - Glimmering Moonlight

Dancing With Love artfully showcases a spectrum of 12 unique shades of love, ranging from the earthy and grounded to the divine and transcendent. Each track weaves together a distinct musical style with the poetry of Eastern Mystic Masters, including two inspiring female spiritual leaders. Over the past few years, Dr. Afarin Mansouri has composed an outstanding collection of arias and duets for her various operas while drawing inspiration from these literary poetic works. This album is the result of a successful collaboration between esteemed Iranian-Canadian artists, including Mansouri (compositions and lead vocals), Milad Bagheri (tenor), Padideh AhrarJejad (Tar) and Ali Masoudi (Percussion) with Thin Edge New Music Collective- one of Canada's foremost ensembles, presenting new music. The album has been made possible through the kind support of the Ontario Arts Council and Toronto Arts Council, as well as the production work of Cultureland.

Dancing With Love (Danser avec amour) présente avec brio un spectre de 12 nuances uniques d’amour, allant de l’amour enraciné et terrestre à l’amour divin et transcendant. Chaque piste tisse un style musical distinct tiré de la poésie des maîtres mystiques orientaux, y compris celle de deux incroyables femmes chefs spirituelles. Au cours des dernières années, la Dre Afarin Mansouri a composé une collection d’arias et de duos tirés de divers opéras. Cet album est le résultat d’une collaboration fructueuse entre d’éminents artistes irano-canadiens, dont Afarin Mansouri (compositrice et chanteuse), Milad Bagheri (ténor), Thin Edge New Music Collective et bien d’autres. L’album a été rendu possible grâce à l’aimable soutien du Conseil des arts de l’Ontario et du Conseil des arts de Toronto, ainsi qu’au travail de production de Cultureland.

11 Alchemy M03

10 Severance M03

composed by Susan Griesdale: see susangriesdale.com

Ophelia Dances Alone Sound Recording - Susan Griesdale

Forever in Bloom

Piano - Za Klavir: No. 5 / solo piano / composed and performed by Nina Platiša / recorded at Port William Sound studio in Mountain Grove in 2023 / 1 of 27 original compositions featured on Nina's 2023 album debut Za Klavir: For the Piano.

Za Klavir: For the Piano

Za Klavir: No. 5

Program Notes

Iridium is a hard, brittle, elemental metal and is the second-densest metal (after Osmium) with a density of 22.5. It is often alloyed with platinum. This creates a connection to Varèse’s Density 21.5 for flute alone, which has played a large part in my musical life. Iridium is one of the rarest metals found in the earth’s crust (found in Alaska, amongst other places); it exists mostly in the core of the earth. If Iridium were formed into the shape of a gold bar, it would shatter under its own weight. 

Iridium is in three short continuous movements, 6 minutes in total. We begin in the core of the earth: pulsating, molten, and hot. Metallic whooshes, pulses, and drones play against the live flute flutters, bends, and other special effects. After about two minutes, we emerge onto the earth’s surface into the mountains of Alaska in an ethereal, evocative mix of ocean waves, gulls, wind, whale songs, and celestial voices,  and the live and recorded flutes dance through the harmonic series on C. In about the fourth minute, the pulsating, ominous pressure returns, and gradually the Iridium shatters into many pieces. 

Iridium is composed for two flutes and fixed electronics. The electronics consist of 74 imported found sounds, 72 recorded flute clips, and 25 Ableton sounds Some of these shared the same track, so there is a total of 20 tracks against which the two live flutes play. The density of the sounds you hear is intended to reflect the density of the metal. The recorded flutes, which I recorded in my home studio,  serve as a bridge between the live flutes and the electronics.  The coordination is fluid and organic, with time marked in the score in seconds, and an approximation of the electronics notated in the score, and the performers are given flexibility.

Iridium for two flutes and electronics perf. by Sarah Bassingthwaighte

"Morning, Taipei 101" features the first 14 seconds of a theme from my orchestral piece "Urban Suite". Recently, I’ve been experimenting with Suno AI, feeding it melodies from my own works to see who make music better. So far, AI still has a way to go in modern music, but it might surpass human creativity in a year or two!
Visit my YouTube and watch the video I created:
https://youtu.be/pDohUCN5SDg?si=HjY7ah33YWhN3gl5

《Morning, Taipei 101》，前14秒的音樂動機來自我十年前創作的管弦樂作品《Urban Suite》第一樂章，由法國號獨奏開展，全曲描寫了我初次到溫哥華從機窗俯瞰的感受。近期開始使用Suno，將自己過去的作品主旋律作為seed餵養AI，與AI進行PK

Morning, Taipei 101

Check out the video on my YT:
https://youtu.be/JJOTpB6yhDg?si=9AMbPveqEtgY8JvA

Home Sweet Home

Watch the music video on YouTube: https://youtu.be/eWMeVEAwwCY?si=3ECNKoCsfC7t6vch
#stablediffusion #aivisuals #luma

White Silence  (白色靜默)

Convention Centre Reflections

Prairie Mecca Montage II

Mecca Illuminations

Nothing Can End: I - Child I Long For (for baritone and piano)

Nothing Can End: II - Language Is the House (for baritone and piano)

Nothing Can End: III - What Does a Mother Say to Her Child (for baritone and piano)

"Solitude" is a reflective piano solo written for the upper intermediate level student. Multiple pianistic techniques are employed including hand crossovers, melody projection, and a wide keyboard range. The mood is introverted, passionate, thoughtful, expressive.

Solitude

"Within the Still Moment" is a flirtatious duet for flute and piano composed using contemporary and modern idioms.

Within the Still Moment

Caprice for solo cello performed by Bryan Holt

Caprice for unaccompanied solo cello

A Stack of Human Dilemmas for violin and cello by Coreen Morsink with art by Judith Morsink
I) contemporaneous dilemmas web myriad
II) holding the weight of the world
III) mound
Performed by Saba Yousefi, violin and Dobrochna Zubek, cello
May 25, 2025 at the David De Simone Performance Hall, Aurora, Canada as part of the Women. Art, Resilience. Concert Series 

Photo: Mound by Judith Morsink (photo credit to Judith Morsink) 



A Stack of Human Dilemmas by Coreen Morsink Iive performance by Saba Yousefi violin and Dobrochna Zubek cello

The Birth Song 誕生歌(Bilingual Song)
from children's opera The Monkiest King 淘氣小猴皇
for SA children chorus (2 groups of "Elements" characters)
by Alice Ping Yee Ho 何冰頤 and Marjorie Chan



The Monkiest King - Scene 1 Birth Song

Song of The Clouds 彩雲之歌
from children's opera The Monkiest King 淘氣小猴皇
for erhu, pipa, piano and SATB chorus
music & Chinese lyrics: Alice Ping Yee Ho
作曲及中文歌詞: 何冰頤


Song of the Clouds

Performed by the Ethos Collective at Pyatt Hall, Vancouver, BC. 

Just The Hipbones And The Fingers (2015)

This piece was performed at a student composers concert at Wilfrid Laurier University in the spring of 2017.

Performers: Morgan Lovell, Isaac Maliach, Dylan Murphy, Chris Yoon, Jeremy Hunter

Revolve

New Music Ensemble: Chicago Introduction
Fulton Hall, University of Chicago, Chicago, IL, USA
Nov 5th, 2017

Daniel Pesca (Artist-in-Residence at University of Chicago), piano

Program Notes:
"Isles" resulted from my reading of "the Lost Salt Gift of Blood", a collection of short stories by the Canadian novelist Alistair MacLeod. Drawing inspirations from the writer’s hauntingly beautiful depiction of the Canadian maritime landscapes, this piece displays three musical “isles” in three movements set in contrasting landscapes and moods: shimmering and light, resoundingly violent, and silently turbulent.

I. As Birds Bring Forth the Sun

Performed by AK Coope (clarinet) and Daniel Tones (percussion)at the Canadian Music Centre in Vancouver, BC, October 15, 2018

Cedar (2018)

White Lace

Performers:

Amanda Lowry (flute), Erik McKintyre (trumpet), Veda Hingert-McDonald (violin), Carl Ng (saxophone), Morgan Lovell (cello), Gregory Turner (piano), Brayden Krueger (marimba), Max Lindsay (percussion)

This composition is made up of a collection of different guidelines ranging in specificity, so that the resulting music is left up to the various improvisatory choices of the performers. 

This piece was performed on April 6th 2019 at the composition students' Grad Festival at Wilfrid Laurier University.

what I heard through your ears

SAKURA SONGS – VOLUME II
four haiku songs/cycle for soprano or mezzo-soprano, flute, cello and piano
duration: 5:30
haiku: various
also included: arr. of Sakura, Sakura for flute/cello/percussion (played by singer) and piano
AvP 132

View on the CMC Shop: https://cmccanada.org/shop/61056/

Sakura (from Sakura Songs, Vol. 2)

Chasing the Raven was recorded by the SOCCO string quartet as part of a live broadcast on King.FM in Seattle on May 27th, 2016.

It was inspired by watching a number of small birds chasing a raven, each getting close to harass it, then quickly flying out of the larger bird's reach.  The raven seemed unperturbed and maintained its dignity as it continued on its way.  There was so much energy and acrobatic flying on the part of the smaller birds, I found I had to stand and watch.  In the piece, this is reflected in the short fragments, that move between the members of the quartet.  A more sedate, calm melody which appears in the middle, represents the raven. 

For first nation cultures in the northwest, the raven also represents creativity and intelligence. As I thought more about this piece, I felt that as a composer I am often 'chasing the raven', trying to capture new ideas and inspiration, making this piece as much about my own creative process, as the birds I saw that day.

Diane Berry - Chasing The Raven

Qualiche (little Persian Rug) - A trio for Harp, Viola and Flute

Performed and recorded as part of Wilfrid Laurier University New Music Concert performance of students work (performers unknown).

https://www.afarinmansouri.com/afarin_mansouri_website/Home.html

Afarin Mansouri - Qualiche

Sprit*Essence by Mary Gardiner

Ardeleana Trio
Laurie Glencross, flute; Bonnie Shewan Jeffrey, piano; Brenda Muller, cello

“This work came about in response to an article which upheld the premise that the spirit of humankind, beset these days with anguish over the state of the world, can still find beauty, and it is the artist’s task to reflect beauty as well as anguish. The work has three distinct sections. The first has a continuous figure suggesting serenity. Although each instrument asserts itself in turn, all finally return to serene co-existence. A short interlude allows the performers, using musical gestures provided, to create an atmosphere evocative of a new day. An ancient Hebrew folk dance is the basis for the final section, full of exuberance. The work ends with a return to the initial theme of serenity…”

Recorded in 1993 in Toronto, Ontario, at Humbercrest United Church.

Mary Gardiner - Spirit*Essence

Title: “Letter from Pasadena”
Performers: Paul Nash, baritone; Mark McGregor and Samantha Fu, flutes; Jennifer Butler, alto flute; Sammy Pseng, piccolo.
March 14,  2004, Vancouver, BC

Program note: In late 1999, the world watched and listened as the Jet Propulsion Lab in Pasadena, California struggled in vain to communicate with its Mars Polar Lander, sent off to search for water on the "Red Planet". I wrote the words to this elegy for the machine which, by the time it was finally given up for lost, had engaged our concern as if it were a missing child.

https://collections.cmccanada.org/final/Portal/Composer-Showcase.aspx?lang=en-CA

Leila Lustig - Letter from Pasadena

Association of Canadian Women Composers

The ACWC is a professional organization for Canadian women composers, their supporters, and the performers of their music.

ACWC / ACC

Pinned to spotlight

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