THIN EDGE NEW MUSIC COLLECTIVE PRESENTS:
REVERB
June 23rd, 2022
8:00pm EST
918 Bathurst
Tickets
Tickets (available at the door): $20 Students/Seniors/Arts Workers; $25 Adults
Livestream is free to watch/PWYC - donations accepted here
Join us for the inaugural edition of Reverb, the final in-person concert of TENMC's hybrid digital/in-person 2021/2022 season. Our programme will showcase works by Maria Eduarda Mendes Martins (Toronto), Meghan Cheng of Ping Interactive Studios (Toronto), Bruce A. Russell (Toronto), Annie Hui-Hsin-Hsieh (Pittsburg/Australia), and Anna Höstman (Victoria).
Reverb is designed to support artists from a variety of stages in their career through commissioning, premiering works that haven’t had the opportunity to be performed, and providing a second performance of existing compositions and prior TENMC commissions.
Audience members will have the chance to purchase a limited edition download card for the forthcoming digital album of the programme designed by Meghan Cheng (album drop September 2022).
Stay tuned in the fall of 2022 for video releases of each featured work!
PROGRAMME
Anna Höstman - Lattice for violin and piano (2012 rev 2014)*
Maria Eduarda Mendes Martins - The Circular Nature of Time (2022)**- For Pierrot ensemble
Meghan Cheng - Chosen Paths (2022)** - For Pierrot ensemble with real time audio reactive visuals
Annie Hui-Hsin Hsieh - Crystalline (2012-2014)***
Bruce A. Russell - in the sea of being (2022)**
TENMC Performers
Amahl Arulanandam- Cello
Cheryl Duvall - Piano
Terry Lim - Flute
Nathan Petitpas - Percussion
Anthony Thompson - Clarinet
Ilana Waniuk - Violin
**World premiere. commissioned with generous support from the Canada Council for the Arts and Toronto Arts Council.
***World premiere. Commissioned by the Dorian Le Gallienne Composition Award.
*Commissioned by Thin Edge New Music Collective (2012). Rev 2014.
COVID POLICY
Masks are recommended to be worn. Masks and hand sanitizer will be available at the door.
ACCESSIBILITY INFO
918 Bathurst, is not currently wheelchair accessible due to stairs (two half-flights to enter the performance space, and one flight to access the washrooms).
Reverb is presented with generous support from the Canada Council for the Arts, the Toronto Arts Council, the SOCAN Foundation and Dream Cymbals.
Featured Composers:
Bruce A. Russell
Photo Credit: Gillian Mapp
Bruce A. Russell aka Ibrahim El Mahboob (he/him, b. 1968) is a composer and self-taught pianist living and working in Toronto (Tkarón:to, the traditional territory of many nations including the Mississaugas of the Credit, the Anishnabeg, the Chippewa, the Haudenosaunee and the Wendat). He studied at York University with James Tenney and Phillip Werren. His early years were spent playing in bands and releasing DIY cassettes of art pop and experimental music, as well as composing predominantly electronic scores for dance, theatre and interdisciplinary productions.
Frustrated by systemic racism, personal struggles, and a lack of interest in his work, he stopped seeking a career in music. He continued composing in private, however, sometimes sharing his work through social media. Interest in his work increased in 2020, resulting in performances by Second Note Duo, Prism Percussion, San Juan Symphony, Idaho Falls Symphony, and the Grant Park Orchestra. Arraymusic presented the first full concert of his music in November of that year, and he will be Composer in Residence at Array for the 2022/23 and 2023/24 seasons.
He has composed new works for Gryphon Trio and the Madawaska Quartet. He is currently creating music for Ian Kamau’s live multi-media work Loss. He was host of Radio Music Gallery and has written for Musicworks and I Care if You Listen. His interests are in 20th and 21st century concert music especially postminimalism, and music of the African diaspora.
Meghan Cheng
Meghan Cheng creates artwork in the form of interactive light sculptures, digital media and screen-based work. Her work is data based, in that she takes real world elements such as audio, motion and web API’s and uses that data to drive visual elements. Meghan aims to make digital content that feels tactile and relatable and organic. She uses programs such as TouchDesigner and Unreal Engine to integrate the data with the visual content. Meghan has a master’s in fine arts from York University and a bachelor of music from Berklee College of Music. She has provided immersive installations for MakeRoom x ArtworxTO, InterAccess’ VectorFest and several other concerts and live performances. She has been fortunate enough to receive the Ontario Arts Council Chalmer’s Professional Development grant and the Daniels Artscape Foundation Bursary. Meghan believes in building meaningful relationships with ourselves, each other, and the world around us through shared, imaginative experiences.
ANNA HÖSTMAN
Anna Höstman’s compositions seek out tactile encounters with nature while extending into history, memory, and landscape. Her works have been performed throughout Canada and internationally by performers such as Keiko Shichijo, Mira Benjamin, Quatuor Bozzini, Continuum Ensemble, Heather Roche, Thin Edge New Music Collective and Wesley Shen. Toronto pianist Cheryl Duvall’s recently- released album of Anna’s solo piano music Harbour was nominated for a 2021 Juno award. Anna has held artist residencies at the Matralab (Concordia University, Montréal), Artspring (Saltspring Island) and Outvert Artspace (Ísafjörður, Iceland). Her interviews with Canadian composers Linda Catlin Smith, Martin Arnold, Christopher Butterfield, Keiko Devaux and Allison Cameron are published in Tempo, a Quarterly Review of New Music.
Recent compositions include Leaf for Katie Rife (vibraphone), Peregrine Felt for Morgan Zentner and Katelin Coleman (English horn and bassoon), Underwater for Balancing on the Edge, Pebbles for Ryan Scott (snare drum) and Woolgathering for Wesley Shen (piano). Her piece For Elza is a part of the Art Gallery of Victoria’s 2022 Reverberations exhibit. Anna lives and teaches on the west coast of Canada.
“This unforced yet compelling music, finding its own bearings while negotiating sonic swirls and eddies, brings to my mind Emily Dickinson’s wonderful notion of “rowing in Eden” without chart or compass. Höstman’s … unhurried progress and sensitivity to rays of illumination seem— like Dickinson’s poetry— to be charged with quiet ecstasy. “(Julian Cowley)