Destination moon (By Alfred and Fisher, arr. Robert Honstein) recorded live at Tanglewood Festival
Refugee Blues (By Mohammed Fairouz) recorded Live in Melbourne as part of the Melbourne Recital Centres 'American Songbook' Festival
Pur al fin gentil viola (Ariosti)
A une raison (Britten) recorded live at Tanglewood Festival
Black is the color (From Berio's Folksongs) Recorded Live with the La Jolla Symphony
I wonder as I wonder (From Berio's Folksongs) Recorded Live with the La Jolla Symphony
Ballo ((From Berio's Folksongs) 
Azerbaijiani folksong (From Berio's Folksongs) Recorded Live with the La Jolla Symphony



Berio - Azerbaijiani love song

Paper Moon

Text: Goethe, Christian Schlegel et al.
Ekmeles Vocal Ensemble; Yarn/Wire

Fälscherlieder (2016)

Yet, the Rain Falls more Gently is a 12-minute work for soprano Carla Huhtanen and the Array Ensemble of Toronto. It is based on the little book of poems published in 1913 entitled Die Letzte Freude (The Last Joy) by Dada performance artist Emmy Hennings. The text fragments alternate between the original German with English translations.  Yet, the Rain Falls more Gently was premiered April 5th, 2016 at the Array Space, 155 Walnut Avenue, Toronto alongside new pieces by Adam Scime, Scott Wilson and Gregory Newsome.

Yet, the Rain Falls more Gently

Jonathan MacArthur, tenor
Darren Creech, piano
Wally Gunn, composer
Maria Zajkowski, librettist

Recorded live at HERE Theater, New York, NY on April 25, 2017
as part of Sparks & Wiry Cries' songSLAM 2017

One Good Life (Wally Gunn)

"You are being watched. Inhabiting this space together, your actions have consequences for us. So watch yourself."

Graham Banfield / Joseph Glaser / Lisa Keeney / Austin Lamarche / Jackie Leung / Grace Scheele

Recorded by Paul Talbott and Emilie LeBel at ArraySpace Toronto
Mixed By Paul Talbott
Recording courtesy of the Toronto Creative Music Lab (www.tcml.ca)

giant with 100 eyes

Michèle Motard, mezzo

NOTES DE PROGRAMME

Cette courte œuvre vocale, sans texte, explore les possibilités timbrales et polyphoniques de la voix, d'où le titre tamoul Vaai Irandu, qui signifie Deux bouches.  

La première bouche s'inspire de ragas de la musique carnatique, précisément, les ragas Kalyani, Thodi, Shankarabharanam, Abhogi et Saveri. Fragments mélodiques et gamakas (ornements) issus de ces ragas sont développés pour former, de par leur succession, un métaraga imaginaire. 

À cette ligne mélodique, la seconde bouche superpose des sons percussifs buccaux (principalement des clics et des éjectives) qui révèlent peu à peu une trame rythmique inspirée du type de constructions arithmétiques (korvai) utilisées par les percussionnistes du sud de l'Inde.

PROGRAM NOTES

This short vocal piece explores the timbral and polyphonic potential of the human voice, as evoked in the Tamil title Vaai Irandu, which means Two Mouths 

The first mouth’s material is inspired ragas of South Indian Carnatic music, namely Kalyani, Thodi, Shankarabharanam, Abhogi and Saveri. Melodic fragments and gamakas (ornaments) from these ragas are developed in sequence to construct what we could call an imaginary “metaraga”.

The second mouth consists in percussive phonemes, superimposed to the melodic line of the first. These clicks and ejective consonants gradually reveal an arithmetical rhythmical construction typical of Carnatic percussion figures. 

Image: François Simard

Vaai Irandu

Composed by Anna Hostman
Tenor Jonathan MacArthur
Pianist Darren Creech
Poem by Emmy Hennings

An Fränzi

JR MacArthur