Thin Edge New Music Collective Presents:
July 18-20, 2019
Doors 7:30/ Show 8pm
The Theatre Centre, 1115 Queen St. W, Toronto
Tickets:General Admission - $35, Students/Seniors/Arts Workers - $25
Blurring realities between contemporary music, technology, gaming and theatre, Triptych features the premiere of 3 interdisciplinary works by Remy Siu 蕭逸南, Sabrina Schroeder(composer) + Jenna Harris (playwright/actor), and Peter Hatch’s ‘Triptych’. Twenty years in the making, TENMC will perform the world premiere of the entirety of this monumental three-part chamberwork exploring the theatricality of musical ritual.
Check out this short teaser about Remy Siu's new work!
Anthony Thompson – clarinet
Terry Lim – flute/alto flute
Ilana Waniuk – violin/co-artistic director
Dobrochna Zubek – cello
Nathan Petitpas – percussion
Cheryl Duvall – piano/co-artistic director
Lighting Design/Technical Director – Wes Babcock
Sound Director- John MacLean
Movement Director/choreographer – Jolyane Langlois (with special thanks to Jennifer Dallas)
Stage Manager – Whitney Hewitt
Approximate Run Time: 90 minutes
Thursday, July 18, 2019 – 8:00pm Opening
Friday, July 19, 2019 – 8:00pm
Saturday, July 20, 2019 – 8:00pm
Generously supported by: The Canada Council for the Arts, The Toronto Arts Council, The SOCAN Foundation, Arraymusic, The Steinway Piano Gallery and the Ona Miller Foundation.
Remy Siu 蕭逸南-New Notations* -for three players
“new notations – for [multi] player” is a real-time interactive digital instrument. The piece asks the players to explore a virtual space via hardware controls, their movement and actions resulting in sound output. A maximum of four players can explore this space together, collaborating with one another to sculpt a sound performance.
This [three] player version was commissioned by Thin Edge New Music Collective.
Remy Siu 蕭逸南(b.1990) is a composer and new media artist based in Vancouver, BC (located on the unceded, ancestral, and occupied, traditional lands of the xʷməθkʷəy̓əm (Musqueam), Səl̓ílwətaɬ (Tsleil-Waututh), and Skwxwú7mesh (Squamish) Nations of the Coast Salish peoples).
Recently, his work has involved the construction of automated and variable performance apparatuses that employ light, sound, software, and the body. He is interested in creating friction and stakes between the performer, the interface, and the system through the use of game mechanics and failure. His output spans chamber music, dance, theatre, installations, and audio-visual work.
His work has been presented atPuSh International Performing Arts Festival(Vancouver),Contemporary Musiking Hong Kong,The Music Gallery(Toronto),Centre for New Music(San Francisco),Power Station of Art(Shanghai),Vancouver Art Gallery,MUTEK Montreal,artsdepot(London, UK),The International Symposium On Electronic Art, and more.
Remy studied at Simon Fraser University Contemporary Arts with David MacIntyre, Owen Underhill, and Barry Truax. He has also studied with Rodney Sharman.
In 2019, he was nominated for theGaudeamus Award.
Sabrina Schroeder (composition) + Jenna Harris (theatre)
Thruline (2019)*- for piano, cello, violin, percussion, live electronics + actor
Experiment: 2 artists, working in 2 different disciplines (sound and theatre), living 4,207.8 km apart, will spend 2 intensive weeks in a room together in Toronto with 4 musicians. Over the year leading up they've sent each other virtual postcards, videos, links, fragments... all toward knitting together zones of focus that might form their playground for this period.
Composer-performer Sabrina Schroeder (Canada) integrates tactile transducers, live processing, and self-built mechanics into performance that digs into heavy sound spaces that are as much about body-feel as they are about audible sound.
Recent/current projects include residencies at Civitella Ranieri (Umbria, Italy) and the Experimentalstudio des SWR (Freiburg, Germany), with new commissions for ICE Ensemble (New York/Chicago), JACK Quartet (New York), Architek Percussion (Toronto), No Hay Banda (Montreal), and a collaborative project with theatre creator Jenna Harris and Thin Edge Collective (Toronto).
Schroeder has been on the faculty of iEAR (Integrated Electronic Arts) department at Rensselaer Polytechnic Institute (Troy, New York), the Royal Northern College of Music (Manchester UK), the Banff Summer Music Programs (Banff, Canada), and is currently Assistant Professor of Composition at Simon Fraser University’s interdisciplinary School for the Contemporary Arts (Vancouver, Canada).
Jenna Harris is a graduate of the American Academy of Dramatic Arts Theatre Conservatory Program in New York City. She is a Dora-nominated actor, playwright /creator, dancer, producer and arts educator. She is the founder and Artistic Producer of Discord and Din Theatre, and a founding member of [elephants] collective. As an actor, Jenna has worked in both the United States and Canada, and as a writer has written everything from radio shows to animated shorts, webseries to feature films, site-specific work to full-length plays. Jenna was part of Studio 180 Theatre’s inaugural IN DEVELOPMENT (November 2015), the Tarragon Playwrights Unit (2015-16), the Thousand Islands Playhouse Playwright’s Unit (2016), was a Playwright in Residence at Buddies in Bad Times Theatre (2016-2017), and is currently in a member of their Artist Residency program. Jenna has taught at Alvin Ailey American Dance Theater, Ballet Tech and the 92nd Street Y in New York, and numerous schools in Toronto.
Upcoming: Jenna’s play Mine is being produced by Buddies in Bad Times Theatre in their 2019/20 season. Discord and Din Theatre will be producing the Canadian premiere of British playwright Alice Birch’s Revolt. She Said. Revolt Again. as part of the same season.
Music is a Beautiful Disease (1999) - piano, clarinet, violin, cello, percussion
Five Memos (2006)-piano, clarinet, flute, violin, cello, percussion
Objects in Motion (2019)*-piano, clarinet, flute, violin, cello, percussion
This triptych is comprised of three works for similar chamber ensemble exploring the concert chamber music tradition through instrumental theatre. The works were composed separately, with significant periods of time elapsing between the composition of each one – the first two end on a bit of a question mark from which the next piece begins. They are all written as “generic” chamber works – written in such a way that music prevails in the works, enhanced by lighting and movement. (The first two in the triptych have been successfully recorded and released on CD.) The pieces are a kind of musico-anthropological view of the practice of chamber music expressed through music composition - an attempt to step outside of the academy and practice and ask: What is it, this thing that we do called
The act of playing a musical instrument already presupposes that any posture, movement or behaviour around this activity will privilege the aural event first, as it should do. In classical music, this emphasis on the sounds only is more pronounced than in other musics. It results in a highly stylized form of rituals and “theatre” that characterizes classical music performance, theatre largely invisible to the returning audiences who have grown up participating in this form of art.
My triptych is absolutely not a bold, brave look at the future of this practice - instead, it takes a subtle look at the “normal” activities of chamber music and stretches them a bit…. my pieces are intended to be performed by “any” chamber ensemble with a normal skill set of performance practices and rehearsal time. It is groups like TENMC and projects like this that bring attention to this often-neglected part of our tradition and perhaps point in directions that our field might evolve. Having both their time and a space dedicated to presenting theatre pieces is an exciting opportunity to explore more thoroughly what my pieces suggest.
Composer and music curator Peter Hatch has composed works in a large number of genres, from orchestral and chamber music to instrumental theatre, electroacoustics and installations. Known for his interest in revitalizing the listening experience, Hatch's compositions are both heady and playful, profound and humourous. Theatrical and multi-media elements have been incorporated into many of his works, an interest that has grown from extending traditional concert music performance and in frequent collaborations.
As well as his compositional work, Peter has been very active as the artistic director of new music ensembles and festivals. He founded NUMUS Concerts in 1985, and the Open Ears Festival of Music and Sound in 1998. Peter was Composer-in-Residence with the Kitchener-Waterloo Symphony from 1999-2003 and Arts and Culture Consultant with the Perimeter Institute for Theoretical Physics from 2011 to 2013. From 1985-2017 Peter was a Professor at the Faculty of Music, Wilfrid Laurier University