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

Here's a little harmonic exploration, centered around the feelings of fall -- thanksgiving, reflection, a quieting down of sorts, and the pull homeward.

Fall Finds Me Home, piano

Concerto for Double Bass and Orchestra by 
Sarah Bassingthwaighte 

London Symphony Orchestra 
Jonathan Pasternack, conductor 
Steve Schermer, double bass soloist

Bassingthwaighte London Symphony Orchestra  Concerto For Double Bass And Orchestra II. Scherzo

Concerto for Double Bass and Orchestra III. Pesante feroce

London Symphony Orchestra 
Jonathan Pasternack, conductor
Steve Schermer, double bass soloist 

Recorded at St. Luke's London, September 2023

The Concerto for Double Bass and Orchestra was the result of several sources of inspiration. Conductor Jonathan Pasternack dreamed up the idea of the creation of a new piece for the Port Angeles Symphony Orchestra to celebrate their 90th Anniversary. The idea for the concerto for double bass and orchestra was a combination of the desire to add to the repertoire for the double bass and having an incredible double bass player, Stephen Schermer, to premiere it.
In deciding the general stylistic approach to the piece, I wanted to create something that would be virtuosic and fun for the bass soloist, engaging and interesting for the orchestra, and expressive and exciting for the audience. It was inspirational to be in contact with both the conductor and the bassist throughout the composing of this piece. Steve’s hope was for something lyrical, expressive, with a lot of tension and release, and that also used the full range of the double bass (a lot of bass concertos favor the highest range). This sounded perfect to me.
The Concerto is in three movements: Lachrymae, Scherzo, and Pesante feroce. The Lachrymae is the most serious and dramatic movement. (Many composers have written movements called lachrymae or lacrimosa, referring to tears.) This past year involved some very painful losses for both the bassist and for me, and this movement expresses some of that grief. The main motive that runs through the piece is 4 notes, with a major 2nd descending and a minor 3rd ascending, then a Major 3rd descending, with a dotted rhythm that reappears often. This is heard first in the double bass opening statement, low and solitary. It is then heard throughout the movement, including in a duet between piccolo and bass (playing flute-like harmonic effects), and then is extended to form the melody for the climax. At the loudest point, the bass blends into the fabric of the orchestra, with everyone at a fortissimo – the woodwinds and upper strings in a flurry of runs, the brass doing glissandi slides, and the low strings and low winds pounding out the 4- notemotive. Afterthis,theendingisquietandlonely.
The Scherzo lightens the mood, with bouncy, syncopated rhythms. The winds get to take a break, leaving just strings and percussion. All of the strings play entirely pizzicato – they don’t use their bows at all. The percussion gets to pull out some of their fun auxiliary instruments – temple bells (or crotales), vibraslap, castanets, and bongos among them. In the middle of the movement, the bass plays a 7-note pattern over the percussion’s 3-beat pattern, intentionally feeling loose and ungrounded. In the bass part, you’ll hear glissandos and slapping the strings.
The Pesante feroce is the high-energy climax of the piece. Short, driving, accented motives are tossed between the bass and the orchestra. The music is often somewhat dissonant, but always directional. A challenge in composing for bass is balance between the bass and the orchestra. Rather than thinning the orchestra, in this movement, I chose to have them alternate quickly, so the orchestra could play with fullness and energy without covering the bass. The middle of this movement slows to a dark, mysterious scene, with a persistent 4-note ostinato that is traded through the winds, brass, percussion, strings, and harp. Fairly quickly, the music returns to the virtuosic, driving bass themes, pushing toward the dramatic final repetition of the opening statement.

Bassingthwaighte London Symphony Orchestra Concerto For Double Bass III. Pesante feroce

Four contemporary piano pieces evoking the four elements
Performance by Joseph Ferretti [from live concert April 2008]

Water, Fire, Air and Earth (piano) by Jana Skarecky

Anew - by Gerda Blok-Wilson

Christmas Hunting (Rom Com)

Live at Recital Hour, The Rosza Centre, University of Calgary

Feb 8th

Flute: Jessica McMann
Piano: Julie Jacques
Composer:  Michael Daugherty

Trail Of Tears Concerto for Flute  1. where the wind blew free

"Mama’s Painting: Louis Riel’s Dream" is inspired by an unfinished collection of paintings by my Métis grandmother Lenore Clouston titled “Louis Riel’s Dream.” The five paintings were to highlight the history of Western Canada through the stories of the indigenous peoples, illustrating the clashes of cultures and politics in Canada and pointing to a future where people of all races could live in harmony. My grandmother never completed the project. Only two unfinished paintings remain and the memories of her sketches (which were lost in a fire.) I decided to complete the project musically and used the prose of my mother (Joyce Clouston) to start each of the five movements of the piece. The final result is an interdisciplinary presentation of my grandmother’s vision. This recording is from a live concert during the Noon Hour Concert Series at Conrad Grebel University College on February 28, 2018. Performers were: Marcus Scholtes & Sharon Lee (Violin), Rebecca Diderrich (Viola), Miriam Stewart-Kroeker (cello) and Heidi Wall (piano). Recording Engineer - Earl McCluskie

Mama's Painting: Louis Riel's Dream

Kye Marshall on Emily Carr's The Trees in the Sky

Ekphrasis Eleven: Kye Marshall

Creación Colectiva

Dario Matta, Karim Nhon - Pedais
Benjamín Slavutzky - Trompete
Yanet Gerico, Valentina Spina - Violino

Festival Caja Negra - San Juan, Argentina

Experimentacíon con instrumentos

Association of Canadian Women Composers

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

Evelyn Stroobach - Dark Blue

ACWC / ACC

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