Each work has its own program notes. Please click on the links below to read them.
As documented by University of Toronto scholar Dylan Robinson, a Canadian-themed opera was commissioned from Barbara Pentland in 1951 by the London-based amateur organist Gordon Jeffries. Barbara Pentland and Dorothy Livesay researched […]
Shadows in Stone
Shadows in Stone reflects on the mysterious and seemingly arbitrary presence of old stone walls around New England and Southern New York State. Most were built in pre-colonial times when the entire […]
Aaron Copland’s piano trio Vitebsk (1928) is a powerful, challenging work that dates from the early “austere” period of the composer’s development, which saw the creation of sparse, often strident works like […]
Sextet: Aaron Copland
Copland’s Short Symphony (also known as his Symphony No. 2) was composed between 1931 and 1933, and premiered by Carlos Chavez in Mexico City in November of 1934. Although both Leopold Stokowski […]
Welcome to the 2012 – 2013 Season!
This season Turning Point Ensemble will continue to bring to your ears music you most likely will not hear anywhere else, and music that will delight, challenge, interest, and inspire. And we will continue our goal of placing music at the centre of interdisciplinary conversations – and encourage creative conversations as opportunities to listen as well as express. With our three subscription season presentations, The Lake – Cinema Musica – Round Midnight Turning Point Ensemble will again bring to the stage music created by composers who are friends, peers, and neighbors, and/or who have lived at the same time as our parents and/or grandparents. These composers exist in our world with the same influences as we and our immediate relatives – and their ability to articulate the tensions and resolutions of their lives with rhythm, harmony, melody, and even silence, are very important to our gaining the reference points and ability to articulate our own desires, frustrations, joys, and sadness. Hopefully, with this added sensitivity we are better able to make our own lives more, meaningful, and connect more deeply and sensitively with those whose life paths we cross. To mount this season’s activity we thank you for your ongoing support of Turning Point Ensemble, as we also thank the numerous individuals, corporations, foundations, government and partner organizations acknowledged in this printed program. The musicians, staff, and board of directors are truly grateful to be working in a community where we feel so valued. Please join us this season as a subscriber if you have not already done so, and join what our board affectionately calls “Team TPE”. We trust that at any point during this season, if you wish to further a conversation with us you will feel your input as valued and you’ll be inspired to deepen your connection with our ensemble and organization.
President, Board of Directors
Turning Point Ensemble
Welcome from Astrolabe Musik Theatre
We are privileged to have your company as a long-held dream reaches its fulfillment. Bringing The Lake to the stage is a journey that began years ago at the Canadian Music Centre, continued at the Eckhardt-Gramatté National Music Competition and Quails’ Gate Estate Winery, bumped its way over trails and roads (hopes and possibilities), and finally achieved its destination here tonight. John and Susan Allison were pioneers in the traditional sense, but also in the way they immersed themselves in the culture of the First Nations peoples who were their friends and neighbours. Barbara Pentland and Dorothy Livesay were pioneers in Canadian music and poetry, blazing trails and showing us new ways of hearing. And you, too, are pioneers, in entering the previously unknown sonic landscape of Pentland and Livesay, and opening yourselves to all the challenges and thrills that pioneering can bring. Thank you for your adventurous spirit, and for your company. I am deeply grateful to the First Nations peoples who very generously shared their knowledge and stories with Susan and John Allison; for the open-hearted warmth of the many Allison descendants who have so kindly shared family photos, memoirs and reminiscences of their ancestors; for the on-going care and stewardship of Quails’ Gate Winery’s founders and owners, the Stewart family; to the Canadian Music Centre and the Pentland Fund for the opportunity to realise this dream; to the Turning Point Ensemble, for its incredible vision and support, without which this could not have happened; to Dorothy Livesay and Barbara Pentland for their art and inspiration; and to my teacher, friend and mentor, the late Phyllis Mailing, without whom the journey would never have started.
Astrolabe Musik Theatre
Turning Point Ensemble Members Performing This Program
|Flute:||Brenda Fedoruk||Oboe:||David Owen|
|Clarinet:||Francois Houle||Trumpet||Tom Shorthouse|
|Piano:||Jane Hayes||Violins:||Mark Ferris and Domagoj Ivanovic|
|Viola:||Marcus Takizawa||Cello:||Rebecca Wenham|
|Bass:||David Brown||Conductor:||Owen Underhill|
Director: James Fagan Tait
Music Directors: Owen Underhill and Heather Pawsey
Rehearsal Pianist: Rachel Iwaasa
Lighting Designer: Mark Eugster
John Arsenault, Angus Bell, Heather Pawsey, James Fagan Tait, and Barbara Towell appear with the permission of Canadian Actors’ Equity Association.
Costumes courtesy of Vancouver Opera.