start : stop October 25, 2009, 8 pm

The Music Gallery 197 John Street

Toronto 25th anniversary season

Acknowledgements

Continuum gratefully acknowledges the following organizations and individuals:

Patrons Daniel Cooper, Robert Cram, Jim and Allison Dingle, Ira Eisen, Edward Epstein, John Ferth, Judy Harquail, Michael Oesterle, Aurora Reford, Rochelle Rubinstein, Angela Rudden, Ann Southam, Eileen Stranks, Professor and Eleanor Stryland, Jan Willem Jansen Supporters Peter Anson, John R. Bailey, Geraldine van Leeuwen Boomkamp, Christopher Des Brisay, Allison Cameron, Dr. Ming Cheong and Annie Cheung, Rosemary Cheung, Lawrence Cherney, Austin Clarkson, Michael Colgrass, Gyula Csapó, Anne-Katherine Dionne, Lynda Franklin, Elisabeth Frécaut, Susan Freeman, Ann Ginou, Ruth Grace, Susan Greer, Josh Grossman & Jeanette Unger, Larry and Sharon Grossman, Chris Paul Harman, Miles Hearn, Richard and Christine Higgins, Rupesh Kapadia, Nadina Mackie Jackson, Sidney and Nuala Kennedy, F. Tim Knight, Jane Marsland, Timothy P. McNicholas, Caroline Morgan Di Giovanni, Prof. C.A. Marsden, Barbara Millichamp, Louise and David Morley, David Olds, Juliet Palmer, David Parsons, Peter Pavlovsky, William Peltier, Evelyn and Dr. Gordon Robertson, James Rolfe, Ryan Scott, Sheila Sky, Linda C. Smith, James Tennyson, Alan Tregebov, Astrid de Vries, Jennifer Waring, Stephanie Waring, Paul Widner. Thanks also to volunteers Allison Cameron, Alex Eddington, Matias Jansen, Severyn Nichol, Juliet

Palmer, Angela Rudden, Sasha Tregebov, Esther Waring, Jessica Widner Metcalf Foundation Strategic Initiatives Grant Continuum is in the second year of a three-year grant from the Metcalf Foundation to develop the ensemble through rehearsing, touring and recording, thereby elevating the entire operation and achieving the ultimate goal of increased administrative capacity. Ontario Arts Council support The Ontario Arts Council (OAC) has been a ongoing supporter of Continuum and was not appropriately recognized by Continuum during SHIFT, our festival of Canadian and Dutch music, film and literature, during the 2008-2009 season. We would like to take this opportunity to recognize and thank the OAC for its support of Continuum’s ongoing operations and in particular for SHIFT.

start : stop October 25, 2009, 8:00 pm

Program

Fuhong Shi (China/Canada) Emanations* (2005) For vln, vla, vcl, cb, 2 perc Chris Paul Harman (Canada) incipits (2003) For bcl, vln, vcl, pno, perc Juan Trigos (Mexico/Canada) Pulsación y Resonancias (2002) For pno, perc Intermission Samuel Andreyev (Canada/France) Stopping (2006) For 2 vib Luca Francesconi (Italy) Encore/Da Capo (1985/1995) For fl, cl, bcl, vln, vla, vcl, 2 pno, perc * from Continuum’s Call for Scores The Music Gallery 197 John Street Toronto

Continuum Contemporary Music Jennifer Waring, Artistic Director Anne Thompson, flute Max Christie, clarinet Colleen Cook, bass clarinet Carol Fujino, violin Diane Leung, viola Paul Widner, cello Paul Rogers, bass Laurent Philippe, piano Gregory Oh, piano Ryan Scott, percussion Mark Duggan, percussion David Fallis, conductor Please join us for a reception in the Fellowship Hall following the concert

Program Notes

Fuhong Shi Emanations (2005) Composer’s note: Emanations is scored for violin, viola, cello, double bass and two percussionists, and is inspired by the ancient Chinese text Yijing (the Book of Changes) and Mongolian folk music. The title alludes to the various emanations resulting from the interactions of yang and yin archetypal forces. Although I have not assigned the role of yang and yin solely to either percussion or strings (rather the two groups alternately represent either one or both of these forces), contrast between the timbres of the string instruments and that of the percussion is nevertheless an important feature of this piece. I also contrast rhythmic events, specifically various kinds of tuplets with shifts and prolonging single notes in sonority. The ceaseless interplay between these elements creates the shape of the piece as a whole. According to the eight basic tri-grams in Yijing (each of which is made up of various combinations of the yang line and yin line), music expresses the character of life everlasting. Everything among these eight tri-grams is therefore interrelated. Constant change and the interrelationships between human beings and the material world form the eternal universe. F.S.

Fuhong Shi received a Bachelor’s degree in composition at the Central Conservatory of Music in Beijing in 2000 then earned a Master’s degree in composition at the University of Victoria in 2005. In the fall of 2005, she began her doctoral studies with Professor Gary Kulesha at the University of Toronto. Shi was the recipient of a number of awards at the sixth annual Taiwanese Symphony Orchestra Composition Contest in 1997, at the first annual Yanhuang Cup Composition Competition in 1998, and at the Traditional Music Composition Contest of the Tai Wan National Chinese Orchestra in 2002. She was a finalist in 2006 Tsang-Houei Hsu International Music Composition Award, the winner of 2007 Karen Kieser Prize in Canadian Music, and the Generation 2008 Ensemble Contemporain de Montréal+ Composer’s Competition. Fuhong has collaborated with orchestras and ensembles in Canada and abroad, including the Vancouver Symphony Orchestra, New Music Concerts, Ensemble Contemporain de Montréal+, Orchestre de la Francophonie Canadienn, Tai Wan Symphony Orchestra, Esprit Orchestra, Quatuor Bozzini, Hong Kong Chinese Orchestra and the China Guangdong National Orchestra. Her compositions have been broadcast in the USA, Canada, Mainland China, Hong Kong, Taiwan, Europe and Southeast Asia. Shi has recently been appointed to the faculty of the Central Conservatory of Music in Beijing.

Chris Paul Harman Incipits (2003) Composer’s note: An incipit is the series of words which appears at the beginning of a poem or other literary piece. The term is also applied to music where one may view the opening measure or measures of a piece of music in the context of an index. In my work Catacombs from the year 2000, I used a book of orchestral excerpts for the flute as the basis of an entire concerto. I was drawn to the idea (and to the irony) of how an austere event such as an orchestral audition could be transformed into a musical experience in its own right for the general public. In incipits, I postulated what it mike be like if a musician seated at the piano never cared to leave the index page of musical examples - that is to say, what if this reference page was a complete musical statement in and of itself? The index page in question is from a collection of keyboard sonatas by the rococo-period composer Domenico Scarlatti. For the most part, the source material for this work is drawn from the short two or three bar fragments

which appear in the index, although the two complementary sections of the B-minor sonata (Longo 33) are used in their entirety, and serve as a kind of demarcating device with regards to the work's larger structure. Unlike many of the other fragmentary pieces of my recent output, this work is more clearly broken into a smaller number of longer sections comprised of fragments which are unified by textural or gestural content. In addition, the breaks between fragments are no longer treated as indeterminate lengths, but rather as relations of the global tempo which is used from section to section, creating an illusion of pseudo-continuity. incipits was commissioned in 2001 by the Standing Wave ensemble through the Canada Council for the Arts. C.P.H. Chris Paul Harman was born in 1970 in Toronto where he studied classical guitar, cello, and electronic music. His works have been performed by ensembles and orchestras in Canada and abroad, and he has been commissioned by guitarists William Beauvais and Sylvie Proulx, violinist Jacques Israelievitch, oboist Lawrence Cherney, Continuum, the Esprit Orchestra, the National Arts Centre Orchestra, the Nieuw Ensemble (Amsterdam,) the Trio Fibonacci, the Winnipeg Symphony Orchestra, and the Canadian Broadcasting Corporation, among others. In 1990, Chris Paul Harman was the grand prize winner at the CBC Radio National

Competition for Young Composers. Iridescence, the work which earned him the grand prize, was subsequently awarded first prize in the under-30 category at the 1990 International Rostrum of Composers in Paris. In 2001, Mr. Harman's work Amerika was awarded the Jules Leger Prize for new chamber music in Canada, and shortlisted for the Prix de Composition de la Fondation Prince Pierre de Monaco. In 2007, Mr. Harman received the Jules Leger prize a second time for his work Postludio a rovescio. Since June 2005, Mr.Harman has served as Assistant Professor of composition at the Schulich School of Music of McGill University in Montreal. Current projects include a new work for the Montreal Symphony Orchestra with Kent Nagano, for premiere in February 2010.

Juan Trigos Pulsación y Resonancias (2002) Composer’s note: As the title indicates, the piece is constructed taking as fundamental concepts the “Pulsation”, understood as motor origin of the

musical articulation (and not as rhythm), and the “Resonance”, understood as a specific sound spectrum resulting from the combinations generated by the verticality (harmony), the polyphony, the natural harmonics and instrumentation. It consists of five movements, each with its own characteristic similarities and differences: each movement starts with the original musical material, but becomes unique in its construction and articulation. Constant impulses, music articulations, control of the intervals, and the range and color of the particularly chosen instruments all give unity to the musical form, full of reiterations and contrasts. The piece was commissioned by and is dedicated to Ensemble Sirius. J.T. Composer and conductor Juan Trigos is recognized as the creator of Abstract Folklore, a concept based on principles such as the primary pulsation, the resonance and the obsessive use of polyrhythmic and polyphonic interlocking musical events and segments of different density and duration. In Abstract Folklore there is an inclination towards big format works, with various groups of instruments, including an array of percussion instruments Juan’s most representative works are Magnificat Guadalupano, Missa Cunctipotens Genitor Deus, 6 Ricercares de Cámara, and his guitar, piccolo, double-bass and triple concertos. He has conducted his operas

DeCachetitoRaspado and Mis Dos Cabezas Piensan Peor Que Una in Mexico and Europe; his music has been performed in Europe and throughout North, Central and South America. As a conductor, Juan specializes in contemporary music. He has premiered and promoted an extensive catalogue of new works, both live and on recordings. He has worked with numerous choirs, ensembles and orchestras in Europe, North America and Mexico; he has recorded in the United States for Bridge Records and DarkPress, in Italy for Stradivarius, in Mexico for Quindecim, FECA of Veracruz, "Colegio de Compositores Latinoamericanos de Música de Arte" and UAM, BMG Entertainment, Urtext Classics, Global Entertainment, Euram and Spartacus Classics.

Samuel Andreyev Stopping (2006) Composer’s note: The instrumentation of two vibraphones was chosen as an ideal way of treating attack, resonance and the cessation of sound in detail. As much emphasis is placed on the precise way each sound ends as the way it begins. In a

larger sense, this mode of listening is present in the overall discourse of the piece. The gestures and figures of Stopping are all strongly inclined to their own dissolution; yet, a strategy for the continuation of the piece is always present. Stopping contains sudden proliferations of seemingly alien material, which are just as likely to disappear as to dominate. This tension between continuation and cessation forms the crux of the piece. S.A. Samuel Andreyev was born in Kincardine (Ontario), Canada, in 1981. He is currently studying composition with Frédéric Durieux at the Paris Conservatoire and oboe with Didier Pateau. From 2004 to 2006 he studied composition with Allain Gaussin and analysis with Vincent Decleire at the Conservatoire de Sevran. His music has been performed throughout Europe and North America by ensembles such as Les Percussions de Strasbourg, L'Orchestre de l'Opéra de Massy, L'Orchestre du Conservatoire de Paris, Multilaterale, Linea and others, and by soloists such as Peter Stoll, Thomas Piercy and Christopher Redgate. His work has been featured in major festivals such as Musica Strasbourg and Archipel (Geneva). In 2006 he was selected to participate in the composition course "Voix Nouvelles" at Royaumont, where he studied with Brian Ferneyhough, Michael Jarrell and Francois Paris.

Luca Francesconi Encore/Da Capo (1985/1995) Composer’s note: This piece wants to render with the highest clarity a process, a mechanism of transformation in one unique big formal "bow". And this has to be clear and comprehensible like a painting gesture. It is a transformation I would say physiological, rather than a real becoming; it has a centre and two mirror branches. Da Capo starts from energy in a pure state, almost physiological indeed: pulse, rhythm. This energy unfolds and evolves gradually from the undefined to the defined and than exhausting and moving further and further, in one big "rallentando" of space and time. Encore/Da Capo was written for Ictus Ensemble. L.F. Luca Francesconi studied piano at the Conservatory of Milan and composition with Azio Corghi, Karlheinz Stockhausen (in Rome) and Luciano Berio (at Tanglewood). In 1990 he founded Agon Acustica Informatica Musica, a center for production and research of music with new technologies based in Milan, which

he led until 2006. He has received, among others, the Kranichsteiner Musikpreis (Darmstadt 1990), the Förderpreis der Ernst-von-Siemens-Musikstiftung (Munich 1994) and the Prix Italia 1994. Luca has written over one hundred works for ensembles ranging in size from soloist to large orchestra, most commissioned and performed by leading musical institutions and radio corporations including IRCAM, ASKO, the BBC Symphony, the Swedish Radio Orchestra and Choir, the Oslo Philarmonic, La Scala Philarmonic, San Francisco Symphony, Philarmonique de Radio France, Israel Philarmonic, and Gewandhaus Leipzig. He has written five Radio-Operas for RAI Corporation and six stage or open-air operas, frequently using multimedia technologies. Luca Francesconi has been teaching for 25 years both at the Italian conservatory and in master classes all over the world. Upcoming projects include commissions from La Scala Milano, Oslo Opera House and the English National Opera in London. He is Artistic Director of Biennale Venice Festival and is professor and head of the department of composition at the Musikhögskolan of Malmö in Sweden.

Performer Biographies

Anne Thompson, flute Anne Thompson is Assistant Professor of Flute at the University of Western Ontario. She studied with Geoffrey Gilbert, William Bennett and Marcel Moyse and holds a Masters of Music from the Yale School of Music, where she was a student of Thomas Nyfenger. She has performed throughout the US and Canada and has worked with orchestras including the Toronto Symphony Orchestra, the Hamilton Philharmonic, the Royal Winnipeg and National Ballet Orchestras.

Max Christie, clarinet Max Christie is the principal clarinet of the National Ballet Orchestra and the Esprit Orchestra in Toronto, where he is also a member of the new music ensemble Continuum; he also performs frequently with New Music Concerts both as soloist and as an ensemble member. He is often heard on CBC Radio's Two New Hours, and has recorded the music of Michael Torke, Rudolph Komorous, Melissa Hui, Harry Somers, R. Murray Schafer, and MC Maguire. Mr. Christie has performed across North America and Europe, and has appeared as a soloist with the Toronto Symphony, the Kitchener Symphony, the Calgary Philharmonic and the Esprit Orchestra. He instructs privately The Glenn Gould School and at the Faculty of Music, University of Toronto.

Colleen Cook, bass clarinet Colleen Cook is a member of the Canadian Opera Company Orchestra. In her work as an orchestral musician she has had the opportunity to work with many of southern Ontario’s orchestras, including the National Ballet of Canada and the Toronto Symphony Orchestra. As a chamber musician Colleen was a member of The Burdocks, a contemporay chamber group that was active in commissioning from many composers; she was also a member of Belladonna, which brought chamber music into atypical performing spaces in an effort to create a less formal listening adventure. Colleen has worked with Collaborations, which aims to combine music and other visual arts or dance to create a chamber experience for the audience. Over the years orchestral and chamber concerts in which Colleen has participated have been broadcast on radio and television.

Carol Fujino, violin Carol Fujino has been a member of the Toronto Symphony Orchestra’s string section since 1991, and played in several other Toronto orchestras preceding her career with the TSO. She is a veteran of the musical theatre tradition, having played in most of Toronto’s major productions in the late ‘80s and early ‘90s. As soloist, Carol Fujino performed in the TSO’s Pops Series, playing Vivaldi’s Concerto for Two Violins in A minor, and in 1993, Saraste’s Navarra for Two Violins. As a chamber musician, Carol Fujino

regularly performs with Five Small Concerts (presented by the Associates of the TSO), is a member of the Accordes String Quaret, has appeared with the Amici Chamber Ensemble, performed in Cuban-themed concerts with the Juno Award-winning Gryphon Trio at Toronto’s hip Lula Lounge, and played the viola for the now-defunct Modern Quartet, a group dedicated to performing new compositions. Carol was also regularly heard on CBC Radio 2’s Two New Hours (1978 – 2007), notably in two works featuring her as soloist: Alfred Schnittke’s Concerto Grosso No. 1 and Arvo Pärt’s Tabula Rasa on the Esprit Series in 2004.

Diane Leung, viola Since winning the 2001 Canadian Music Competition and National Kiwanis Festival, violist Diane Leung has performed throughout North America and Europe as a soloist, recitalist, chamber musician, and orchestral musician. She has appeared in venues such as Palau de les Arts in Valencia, Spain; Alice Tully Hall and Paul Hall at the Lincoln Center for the Performing Arts; Greenfield Hall at Manhattan School of Music; and Winspear Hall in Edmonton, Alberta. Until her recent return to Toronto, Diane was the Assistant Principal violist of the Palau de les Arts orchestra in Valencia, Spain, under Lorin Maazel and Zubin Mehta. She has played with the Edmonton Symphony Orchestra, and was principal violist of the Juilliard Orchestra under conductors James Conlon, James DePriest, Otto von

Mueller, and Sir Roger Norrington. Ms. Leung holds a Bachelor and Master degrees from the Juilliard School, studying with Karen Tuttle, Misha Amory, Kim Kashkashian and Carol Rodland; she also holds a Professional Studies Certificate from Manhattan School of Music under the tutelage of Michael Tree and Karen Dreyfus.

Paul Widner, cello Paul Widner is a much sought after cellist in Toronto and has performed throughout Europe, the United States and Canada as a soloist, chamber, and orchestral musician. He is on faculty at The Glenn Gould School and the University of Toronto and is the assistant principal cellist of the Canadian Opera Company orchestra. His expertise has been in the field of contemporary music. He is the principal cellist with the Esprit orchestra, founding member of Continuum and performs regularly with New Music Concerts, Arraymusic and Soundstreams. He has debuted and commissioned numerous Canadian works and recently performed as soloist in the North American premiere of the Penderecki “Triple Concerto” and “Seven Words” by Sofia Gubaidulina. Mr. Widner records with CBC records and other independent labels. He has performed at numerous music festivals including those of Huddersfield, Chicago, Amsterdam and Athens as well as the Edinburgh Festival.

Paul Rogers, double bass Originally from London, Ontario, Paul joined the Toronto Symphony Orchestra in 1989 after having played in the National Arts Centre Orchestra for 4 years. While in Ottawa he was also the principal bass of the Thirteen Strings and the Ottawa Symphony Orchestra. He attended the University of Toronto where he studied with Thomas Monohan. After graduation Paul played with Orchestra Training Program of The Royal Conservatory of Music in Toronto, spent time at the Banff Centre of the Arts with Stuart Knussen, and three summers with the National Youth Orchestra of Canada. He is the bass coach of the Toronto Symphony Youth Orchestra and also teaches at the Faculty of Music, University of Toronto.

Laurent Philippe, piano Laurent Philippe’s particular interest in vocal repertoire has led him to associate with many Metropolitan Opera Artists and he has worked as a coach for many opera companies including The Canadian Opera Company, Michigan Opera Theatre, Florentine Opera, Cincinnati Opera, Opera Company of Philadelphia, Opera San José and Seattle Opera. His conducting credits include assisting Sir Andrew Davis at the BBC Symphony Orchestra at London’s Barbican Centre and Royal Albert Hall as well as performances at the helm of the Vancouver Symphony Orchestra and the Victoria Symphony. Laurent's most recent activities include visiting Michigan Opera Theater for their reprise of

Richard Danielpour's Margaret Garner featuring Denyce Graves, a production that later traveled to Chicago's Roosevelt Auditorium. This season, he coaches the young artists of L'Opéra de Montréal and lectures at Portland State University before traveling to Colorado where he holds the position of Director of Music of the Opera Young Artist Program of the Crested Butte Music Festival. He is currently on the Faculty of the Academy of Vocal Arts in Philadelphia.

Gregory Oh, piano Canadian pianist and conductor Gregory Oh holds graduate degrees from the University of Toronto and the University of Michigan. He plays with ensembles such as NEXUS, the Toronto Symphony Orchestra and the St. Lawrence String Quartet, and individuals such as Patrick Gallois, Jens Lindemann, Allyson MacHardy, Shauna Rolston and Patricia O’Callaghan. This past year he conducted Continuum, CONTACT, Toronto New Music Projects, the University of Toronto New Music Festival, the Kieser Gala on CBC Radio, the Transtromer Opera Project in Sweden and the McGill Percussion Ensemble. He teaches at the University of Toronto, plays harpsichord in The Lollipop People, directs Toca Loca, is the contemporary music curator at the Music Gallery in Toronto and is on the faculty of Canada’s National Youth Orchestra. He spends his spare time trying to fix his bike and watching bad television.

Ryan Scott, percussion Ryan Scott is an acclaimed solo, chamber and orchestral percussionist who has performed and premiered new art music throughout Canada, Europe and the United States, and also in Africa, Indonesia and Japan. Based in Toronto, he performs regularly with many ensembles including Continuum, Soundstreams Canada, New Music Concerts, The Bob Becker Ensemble, Tapestry New Opera Works, The Evergreen Club Contemporary Gamelan, as a guest artist with NEXUS, and in the Canadian Opera Company and the Toronto Symphony Orchestra. He has worked with composers Thomas Ades, Pierre Boulez, George Crumb, Mauricio Kagel, Steve Reich, Murray Schafer and Gilles Tremblay, and has commissioned many works, most recently from Andrew Staniland and Erik Ross; his most recent world premieres include new percussion works from Michael Colgrass, Christos Hatzis and Bruce Mather. He has recorded for NAXOS, hatART, Artifact, CBC and CMC records and has been nominated for a Juno three times. This season he will perform concertos by Unsuk Chin and Maki Ishii with the Esprit Orchestra and will soon record a series of Canadian marimba Concertos with the Boston Modern Orchestra Project.

Mark Duggan, percussion Percussionist Mark Duggan is a versatile performer and composer active in many genres. His passionate blend of classical, jazz and contemporary percussion has impressed

audiences from the Tongyeong Music Festival in Korea to the Lincoln Center in New York. Duggan has performed with the Philip Glass Ensemble, Ensemble Intercontemporain de Paris and Pierre Boulez, the Toronto Symphony, National Ballet of Canada Orchestra, Esprit Orchestra, Toronto New Music Concerts, Soundstreams and he is a regular performer at the Scotia Festival of Music. Duggan has also appeared with many jazz and world artists including Diana Krall, Charlie Haden, Maria Schneider, Petula Clark, Maryem Tollar, Bernardo Padrón, Brazilian guitarist Celso Machado, the Canadian percussion group Nexus and Brazilian quintet TACAP as well as with his own group, Vuja dé. Duggan is a founding member of the Evergreen Club Contemporary Gamelan (since 1983) which has performed throughout Canada, Europe, Asia and the US. Recent projects include performances and master classes at the Festival Internacional de Música in Belém, Brazil and the PercuSonidos percussion festival in Tampico, Mexico.

David Fallis, conductor Conductor David Fallis has led critically-acclaimed productions of Mozart’s The Magic Flute, The Marriage of Figaro, Don Giovanni and The Abduction from the Seraglio; Monteverdi’s Orfeo, The Coronation of Poppea and The Return of Ulysses; as well as operas by Purcell, Handel and Charpentier for Toronto’s Opera Atelier. He has conducted for Houston Grand Opera, Cleveland Opera,

Wolftrap Theatre, Utah Opera, Singapore Festival, Festival Vancouver, Seoul Arts Centre, Symphony London, Symphony Nova Scotia, and in major opera houses in Japan. As Artistic Director of the Toronto Consort, Canada’s leading ensemble specializing in the music of the Middle Ages and Renaissance, he has toured extensively in North America and Europe and has led the ensemble on nine CDs. He conducted the world premiere of R. Murray Schafer’s The Children’s Crusade at the 2009 Luminato Festival in Toronto, and he will lead Choir 21, a new vocal ensemble specializing in the music of the 20th and 21st centuries, in a program of music by Jonathan Harvey in March, 2010. Mr. Fallis is the producer and conductor of historical music for the acclaimed TV series The Tudors, is a frequent radio commentator and teaches in the graduate department of the Faculty of Music at the University of Toronto.

Celebrating 25 Years Continuum’s 2009-2010 Season start : stop Sunday, October 25, 8pm Music Gallery 197 John Street Chrysalis Sunday January 24, 2-6 pm Gallery 345 345 Sorauren Ave The Thread Friday February 28, 8pm Mazzoleni Hall The Royal Conservatory 273 Bloor Street West Wild and Woolly Thursday May 20, 12 pm Richard Bradshaw Amphitheatre Four Seasons Centre for the Performing Arts 145 Queen Street West Wisdom of the Elders Friday May 21, 8pm Music Gallery 197 John Street

About Continuum

Formed in 1985, Continuum Contemporary Music presents concerts featuring the core ensemble of flute, clarinet, violin, cello, piano, and percussion, as well as unusual instrumental combinations. Over the past 25 years, Continuum has performed the work of emerging Canadian composers alongside works by established national and international composers in its concert series, at festivals, on tour, over the air waves and through recordings. The organization has been responsible for commissioning and premiering more than 100 new works by Canadian composers, they have toured Canada and Europe, and have released two compact discs. Continuum was awarded the 1994 Jean A. Chalmers Award for its focus on new works for voice. Continuum’s core ensemble Anne Thompson, flute Max Christie, clarinet Carol Fujino, violin Paul Widner, cello Laurent Philippe, piano Jennifer Waring, Artistic Director Josh Grossman, Administrator Francine Labelle, Publicity Laura Willis, Bookkeeping Board of Directors Alan Tregebov, President Ira Eisen, Treasurer Chris Des Brisay Caroline Di Giovanni Lynda Franklin Contact Continuum 300 Bloor Street West Toronto, ON M5S 1W3 416.924.4945 josh@continuummusic.org www.continuummusic.org

“Ensemble Continuum performs magic with sound.” De Telegraaf

“Continuum gave a richly entertaining concert of recent

pieces by composers whose music its pocket-sized ensemble will play in Europe.”

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Continuum Contemporary Music relies on donations to help provide financial support for our ongoing programming. By making a donation to Continuum, you are helping us to commission new works, organize unique musical and cross-disciplinary events, and present concerts of the highest caliber. All donations are tax-receiptable. New this year - buy some notes! Over the course of our 2009-2010 concert season, we estimate that we’ll perform approximately 118,720 notes. In order to help us to cover the costs of these notes, please consider making a donation at the (purely symbolic) rate of 1 cent per note. Please indicate how you would like to help: � For $10.60, I’d like to cover 1,060 notes - a typical wind or string part

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