to view Murray Adaskin

M U R R A Y A D A S K I N

A Unison of Life, Music and the Man

AN ANNOTATED CATALOGUE OF HIS MUSIC

MU

RR

AY

AD

AS

KIN

: AN

AN

NO

TAT

ED

CA

TAL

OG

UE

OF

HIS

MU

SIC

G

ordana Lazarevich and Robyn C

athcart

M U R R A Y A D A S K I N

AN ANNOTATED CATALOGUE OF HIS MUSIC

ByGordana Lazarevich

Robyn Cathcart

Dolce Publications, Victoria, B.C. 2003

A Unison of Life, Music and the Man

© 2003, Gordana Lazarevich, School of Music, University of Victoria.All rights reserved. Reproduction of illustrations or text for commercial purposes isforbidden. The catalogue, however, may be downloaded, printed, or copied foreducational and performance purposes. No changes to the catalogue are permitted.

National Library of Canada Cataloguing in PublicationLazarevich, Gordana

Murray Adaskin [electronic resource] : an annotated catalogue of his music : a unison of life,music, and the man / by Gordana Lazarevich, Robyn Cathcart.

Issued also in a printed and a CD-ROM version.Includes discography and bibliographical references.ISBN 0-9733065-2-1

1. Adaskin, Murray, 1906-2002--Bibliography. I. Cathcart, Robyn, 1975- II. Title. III. Title: Unison of life, music and the man.ML134.A222L43 2003b 016.78'092 C2003-902785-6

Graphic design: Frances Hunter, Beacon Hill Communications Group.

Cover: Eli Bornstein, “Sketches for Portrait of Murray Adaskin”, 1955.Adaskin estate.

The catalogue is available electronically through the National Library of Canada:

http://collection.nlc-bnc.ca and the Canadian Music Centre Distribution Service:

www.musiccentre.ca.

http://collection.nlc-bnc.ca

www.musiccentre.ca

The composer at 86 Reprinted with the permission of Marten Bot, photographer

In memory of Murray Adaskin (1906 – 2002)

Acknowledgements

The research for the catalogue was made possible through a Social Sciences and

Humanities Research Council General Research Grant from the University of

Victoria. In addition, presidents of three Canadian universities that have conferred

honorary doctorates on Murray Adaskin have contributed toward the production

expenses of this project. They are: President David H. Turpin of the University of

Victoria, President Peter MacKinnon of the University of Saskatchewan, and

President David W. Atkinson of Brock University. Their kind support made the

completion of this catalogue possible.

We acknowledge the co-operation of the Adaskin estate in granting access to the

Adaskin archives and in granting permission to use all the material in this catalogue.

We are also grateful to all the artists whose work is reproduced in this catalogue, for

their kind permission to use their work: Eli Bornstein, Marten Bot, Myfanwy Pavelic,

James Bertolino, Philip McCracken, and Pat Martin Bates. Frances Hunter’s advice

and skill at graphic design are much appreciated.

1

List of illustrations 2

List of colour plates 3

Introduction 5

Methodology and abbreviations 9

Alphabetical list of titles 12

Classified list of compositions 14

Alphabetical list of compositions by decade 17

The Catalogue 19

I Band 20

II Chamber works 21

III Compositions for two instruments 33

IV Concerti for solo instruments

and orchestra 37

V Divertimenti 41

VI Fanfares 45

VII Opera 49

VIII Orchestral works 51

IX Solo instruments 63

X Vocal works 71

XI Works for beginner, intermediate

and advanced performers 75

Colour plates 83

Appendix A

Recordings of the compositions of Murray Adaskin 93

Appendix B

Publications of the musical scores of Murray Adaskin 97

Appendix C

Sources of biographical information on Murray Adaskin 98

Author biographies 99

C O N T E N T S

2

Catalogue Number • Caption

1 Programme of the premiere of Divertimento No.82 Adaskin, c.19703 Roman Totenberg4 Frances James in concert with Louis Crerar at the

Banff Springs Hotel, c.19305 Eli Bornstein, (Detail) “Quadriplane Structurist

Relief No.5”, 1999-2000. Cover page from TheStructurist, No.41/42, 2001-2002 on “Art andAltruism: Aesthetics and Ethics”. (See colour plateVII.)

7 Myfanwy Pavelic, “Portrait of Frances Adaskin” ,1979, 33.2 x 40.5 cm., pencil and watercolour onpaper. The Adaskin estate. (See colour plate I.)

9 Paraskeva Clark: “Algonquin Morning, Canoe Lake”1953, 40.5 x 45.5 cm. Oil on board. The Adaskinestate. (See colour plate IV.)

10 The Toronto Trio, 1939. Left to right: Louis Crerar,piano, Murray Adaskin, violin and CorneliusYsselstyn, cello

14 Rondino for Nine Instruments, autograph of thefirst page of the score

15 Letter of Louis Crerar to the composer; Adaskin’sresponse to the letter

16 Adaskin and Stephen Kolbinson displaying theAmati instruments

18 The players of the String Quintet with thecomposer: Ann Elliott-Goldschmid, Sharon Stanis,Gary Karr, Joanna Hood, Pamela Highbaugh Aloni

21 The Pacific Wind Quintet, 1974: Tim Paradise,Eileen Gibson, Lanny Pollet, Dick Ely and Jesse Read

23 James Hunter, Robin Wood and Murray Adaskinleaving Craigdarroch Castle, the original home ofthe Victoria Conservatory of Music

24 Music Academy of the West, Carpinteria, California.Murray Adaskin, Charles Jones and Darius Milhaud

30 Adaskin and Tsuyoshi Tsutsumi sharing an informalmoment

31 Jacques Israelievitch, Murray Adaskin and MichaelIsraelievitch

32 Murray Adaskin and Louis Crerar in performance36 Kendall Taylor, a concert programme 37 George Zukerman40 The composer (1950s) as conductor; The composer

(1949) as student with Darius Milhaud; Thecomposer (1990s) in the process of re-scoring

41 Cover of Harry Adaskin’s book, A Fiddler’s Choice:Memoirs 1938 to 1980, November House, 1982;Harry and Frances Marr Adaskin

43 Divertimento No.3, first three measures44 White-throated sparrow 46 Divertimento No.6, autograph page listing the

percussion instruments

I L L U S T R A T I O N S

48 The composer and the Adaskin String Trio. Left toright: Steve Larson, Mark Fraser, and Emlyn Ngai

50 “The Adaskin Years” brochure; Murray and FrancesAdaskin with University of Victoria PresidentHoward Petch upon the conferral of honorarydoctorates, 1984 (See colour plate IX.)

52 The Adaskin brothers: Harry, Lesley, Murray andJohn, a rare photo of the four of them together

53 The M/V Askov; The composer with Ann andHarlan Pedersen

54 Page from a program of “Quartet Fest West”57 Painting of Taylor Statten by Gordon Wetmore,

hanging in the Camp Ahmek dining hall58 Adaskin in a composition lesson with Darius

Milhaud59 The Adaskins greeting her Majesty the Queen of

England (1983)60 Myfanwy Pavelic, “Sketch for Portrait of Murray

Adaskin”, 1979, pencil on paper 48 x 41 cm. TheAdaskin estate. (See colour plate II.)

61 Adaskin at 84. Martin Bot photographer.61 Historic poster of the National Arts Centre

Orchestra by Ken Dallison, 1979. (See colour plate XI.)

63 A contemporary brochure, 195165 Two frames of the composer as Charlie Chaplin67 An anonymous carving from Rankin Inlet, untitled,

1952. The Adaskin estate.68 Logo of the University of Saskatchewan Golden

Jubilee Celebrations featured on a concert program,1959

69 Peter Whyte, “Banff”, 1927, oil on board, 19.5 x 14.3cm. Private collection.

73 Ceramic rendition of the “Musicians of Bremen”,Last page of the autograph score of The TravellingMusicians

75 Ethnic poem-drawing by Sarain Stump80 The composer and Rondalee Ravicchio,1993 83 Andrew Dawes 85 The composer on his 90th birthday 88 Vocalise for Solo Bb Clarinet, manuscript page94 Programme of the CMC Anniversary Concert97 Victor Feldbrill with the composer, 1990s98-100

“A Wedding Toast” – poem by James Bertolino,“Emerging Birds” designed by Philip McCracken

99 The composer with the newly-married couple,Pamela Highbaugh and Yariv Aloni

102 Catherine Fern Lewis103 Adaskin in his late teens 104 The composer and Robin Skelton, 1990s

3

C O L O U R P L A T E S

(All numbers refer to the Catalogue entries)

I Pavelic, “Portrait of Frances Adaskin” (See No.7)II Pavelic, “Sketch for Portrait of Murray Adaskin” (See

No.60)III Photograph of Adaskin’s studio on Canoe Lake,

Algonquin Park, Ontario IV Clark, “Algonquin Morning, Canoe Lake” (See No.9)V Clark, “Portrait of Murray Adaskin”

VI Clark, “Portrait of Frances James” (See No.105)

VII Bornstein, (Detail) “Quadriplane Structurist Relief No.5” (See No.5)

VIII Bates, “Of Man and the Universe” (See No.107)IX Frances and Murray Adaskin with University of

Victoria President Howard Petch, upon conferral of honorary doctorates (See No.50)

X The composer wearing his Officer of the Order ofCanada medal

XI Dallison, Historic poster of the National Arts Centre Orchestra (See No.62)

XII Final resting place of Frances and Murray Adaskin

105 Paraskeva Clark, “Portrait of Frances James”, 1952,85 x 12cm, oil on canvas.The Adaskin estate.(Seecolour plate VI.)

107 Pat Martin Bates, “Of Man and the Universe”,presented on the occasion of Adaskin’s 80th birthday(1986). Perforated mixed media with collage, paintand ink, 55.5 x 55.5 cm. The Adaskin estate. (Seecolour plate VIII.)

109 “The Lark Ascending” by Philip McCracken, the logoof AdLar Publications

110 The composer at leisure during his early Banff days 111 Adaskin as pedagogue at the University of

Saskatchewan120 Cameron Bigge121 Shandy, the composer’s beloved cat 122 Book cover for the score of Variations on a Theme

of Murray Adaskin123 Gretchen Bigge127 Savannah Bigge

4

5

I N T R O D U C T I O N

An artist’s life is defined by the social and cultural environment of which he/she is a

product just as, symbiotically, the social and cultural environment is affected by that

artist’s creative endeavours. Murray Adaskin’s rich life spanned almost a century.

Born in Toronto, Ontario, on March 28, 1906, he died in Victoria, British Columbia,

on May 6, 2002, six weeks after his 96th birthday. To his last day an optimist, he

exuded an upbeat approach to life, and displayed an infectious “joie de vivre”.

Through his activities as teacher, educator, composer, conductor and violinist, and

through his love of music and deeply-felt love of humanity, he served as inspiration

to every individual who had the good fortune to meet him or to study with him. He

touched and enriched the lives of a multitude of people.

The closure of a prolific composer’s life also provides an opportunity to codify

that individual’s total artistic output. The purpose of a catalogue or inventory of

compositions is to offer a tool that will facilitate the user’s access to the composer’s

music. An annotated catalogue, such as the one presented here, places the “facts-

of-life” of each composition into a historical context by re-creating aspects of the

composer’s life and times. The 131 entries recorded in this Catalogue represent most

of the works written by Adaskin between 1927 and 2000. A number of arrangements

were made in his early years before he started composition lessons in the 1930s, first

with Leo Smith, then with Ernest MacMillan. These early lessons were followed by

systematic studies of composition first with John Weinzweig and later with Darius

Milhaud and Charles Jones.

Adaskin’s early composition lessons occurred during an active career as violinist

and leader of a chamber music trio. He was the founding member of the Banff

Springs Hotel Quintet (ca.1930) and the Banff Springs Hotel Trio, later known as the

Toronto Trio. These activities, including his pivotal role in the early days of radio

broadcasting, spanned some three decades. During this time, Adaskin made many

arrangements of classical music for performances by the Toronto Trio as part of the

repertoire for the Trio’s engagements at the Royal York Hotel. Only a few of these are

in existence today (see Appendix B).

As seen from the alphabetical list of compositions by decade, Adaskin wrote

more than a dozen compositions prior to his acceptance of a faculty position at the

6

University of Saskatchewan in 1952. The period between 1952 and 1973 as Chair

and faculty member in the Department of Music at the University of Saskatchewan

constituted two decades of great productivity. Despite his academic and adminis-

trative duties at the University, composing became an activity in which he fully

engaged during the summer months when he and his wife, Frances James, migrated

to their beloved cottage at Canoe Lake in Ontario’s Algonquin Park. The peace,

beauty, and tranquility of nature, the sound of the loons, the White-throated

sparrow and other birds, and the isolation of the composer’s studio housed in the

small wooden cabin down the path toward the lake from the main cottage, provided

a fitting backdrop for his creative endeavours.

Upon retirement from the University of Saskatchewan in 1973, the Adaskins

moved to Victoria, British Columbia. In the nearly three decades of his post-

university life Adaskin produced some 75 compositions, more than fifty percent of

his total lifetime output. Some of these were major new works, while others were re-

workings and re-orchestrations of previously composed pieces. Just under half of

Adaskin’s total oeuvre was composed up to the time of the publication of this

author’s book, The Musical World of Frances James and Murray Adaskin (University

of Toronto Press, 1988). The catalogue of compositions listed in Appendix B of that

book (pages 283-294) contains a total of 69 entries. The fact that an additional 62

compositions were written since 1988 – the date of the book’s publication –

necessitates the production of this complete, up-to-date annotated catalogue, all the

more timely now that the source of Adaskin’s creative muse is extinguished.

In the ultimate phase of his creative endeavour (i.e. between the ages of 81 and

94) Adaskin engaged in a large number of re-workings of earlier compositions, some

for practical, others for sentimental reasons. For example, the series of Daydreams

(Numbers 113 to 117 in the Catalogue) – with the first one originally composed for

violin and piano in 1968 – was reworked between 1971 and 2000 for a number of

different instrumental combinations (saxophone and piano, clarinet and piano, two

violins, and viola and cello) as a set of pedagogical pieces for different instruments.

Vocalise No.1, originally written in 1989 for clarinet, was reworked in 1990 for flute,

and in 1992 for violin. Also, earlier compositions were re-visited in later years and

individual movements were incorporated into new works. For example, String

Quartet No.3 (1998) is based on movements from the Algonquin Symphony (1958),

the Saskatchewan Legend (1959), and it incorporates the entire Serenade

Concertante (1954).

The current Murray Adaskin: An Annotated Catalogue of his Music (A Unison of

Life, Music, and the Man) records the composer’s collected works within the context

7

of his life and times. In addition to offering information on the “facts of life”– that

is, date, place of writing, and the first performance of each composition, its

duration, and the instruments for which it was written – the current Catalogue

includes anecdotes, music reviews, and other contemporary chronicles that recreate

the composer’s social and cultural environment. The Catalogue is suffused with

illustrations relevant to the composition being discussed, many of which are of

archival importance to the history of music and art in Canada, and have not

previously been seen or published.

The present Catalogue, therefore, serves a twofold purpose: historical and

practical. Its historical value lies in the chronicles and illustrations accompanying

the entries which, collectively, present a snapshot of a specific epoch in Canada’s

cultural history. Its practical value lies in the detailed information it provides to the

performer who wishes to select a composition for study and/or performance. The

Catalogue is, thus, a reference tool serving as a central and up-to-date source of

information on the compositions of Murray Adaskin. This reference tool should be

a welcome addition to the Canadian Music section of university, public, or media

library archives across the country and abroad. It provides new, previously

unpublished documents, illustrations, and information that should prove useful to

broadcasters, journalists, and conductors when programming, reviewing, or

conducting Murray Adaskin’s music. The Catalogue will also be of benefit to

performers – individual, orchestral, chamber, or band – as its purpose is to provide

information on the music in a most accessible manner. It is also designed to assist

studio, conservatory, college, and university music teachers in the selection of

repertoire for their respective students.

In order to achieve the goals of transparency and accessibility in the use of this

Catalogue, three “search engines” are presented: the entries are listed alphabetically

by title (Alphabetical List of Titles), by category (Classified List of Works), and

chronologically (Alphabetical List of Compositions by Decade). An extensive cross-

referencing system facilitates an efficient access to all facts relating to a specific entry.

The Catalogue also contains an explanation of abbreviations used throughout,

and has a set of Appendices. Of practical importance are Appendices A and B, listing

the recordings and the publications of the music. Finally, the Catalogue contains

numerous quotations of the composer’s own words. Adaskin’s own assessment of his

music is that

“It does have a kind of human element and always, at some point,

a Chaplinesque quality emerges. I love that kind of humour; I love that

8

unexpected twist of events. When it wants to come out in the music, I let it,

and the older I get the less I suppress it. I just go ahead and do it my own way”

(Quoted in Lazarevich, The Musical World of Frances James and Murray

Adaskin, University of Toronto Press, 1988, p.256).

It was Murray Adaskin’s fervent hope that his legacy would consist of music

that would present moments of magic, and that the music would have a distinct

Canadian flavour. To anyone perusing this Catalogue, listening to, or performing

his music it becomes eminently obvious that Murray Adaskin has accomplished his

lifetime objective.

GORDANA LAZAREVICH, PH.D.

School of Music, University of VictoriaSpring, 2003

9

M E T H O D O L O G Y A N D A B B R E V I A T I O N S

Methodology

For the sake of conveying the same basic information (“facts of life”) for each

composition, the order of fields in which this information is presented is consistent

throughout. For example, the first field of each entry lists the catalogue number, title

of the work and – unless it is an orchestral or larger chamber work – instrument(s)

for which it is composed, place and date of composition, number of movements,

and its total length. The second field lists the tempi of each movement, or the tempo

fluctuations within one movement. The third field, where relevant, lists the

instruments, while the fourth lists facts pertaining to the commissioning of the

composition. Next is the information about the premiere performance followed by

a narrative incorporating information specific to the composition listed in the

entry. The final field presents information about the individual(s) to whom the

composition was dedicated.

All the material for this Catalogue was obtained from the “Blue Books”, each

of which contains complete information and documentation on each composition

compiled and organized by Dorothea Larsen Adaskin between the years of 1989

and 2002 from documents found in the Adaskin files.

All entries in the Catalogue are organized in alphabetical order within the

composition category. Hence, Vocalise No.2 “in 5/4 Time” for bassoon, No.92 in

the Catalogue, precedes other Vocalises No.2 even though the first of the set,

composed for clarinet is listed as No.94.

As an aid in the search for a specific composition, three different means have

been created to provide access to the information: An Alphabetical List of Titles;

Classified List of Compositions; and an Alphabetical List of Compositions by

Decade. The Catalogue offers extensive illustrations from the Murray Adaskin

archive (the Adaskin estate), all intended to offer the reader an insight into the

composer’s musical and cultural world. Interaction with friends, performers,

colleagues and the occurrence of important events in the composer’s life are

chronicled throughout. These include correspondence, programme brochures,

personal photos, and photographic reproductions of works of art.

10

Illustrations are listed in relation to the catalogue number to which they

correspond. For example, “[10] The Toronto Trio, 1939” signifies that the illustration

appears with catalogue entry number 10. Recordings are listed in the Catalogue in

abbreviated format. The full citation of each recording is located in Appendix A.

Orchestral instruments are listed in standard format, by family, as follows: solo

instrument – woodwinds (flute, oboe, clarinet, bassoon) – brass (horn, trumpet,

trombone, tuba) – timpani, percussion, harp, harpsichord, piano – strings. For

example, 3.2.2.2. – 4.3.3.0 – timp., perc. – strings, means: 3 flutes, 2 oboes, 2

clarinets, 2 bassoons – 4 horns, 3 trumpets, 3 trombones, no tubas – timpani,

percussion – violins, violas, cellos, basses.

Whenever possible, the duration of the entire composition is indicated in the

first field of each entry as a guide to performers. For the most part, individual

movements within a composition are also assigned a time value. As Murray Adaskin

always considered timing indications to be approximate guides, any discrepancy

between the time values of individual movements and the total suggested timing

of the composition may be attributed to the discrepancy between the composer’s

suggested timing and the actual duration of the piece in performance. The timing

is included in this Catalogue as an aid to performers and radio producers in

programming.

The Catalogue is produced on CD-ROM; in electronic format on the web page

of the National Library of Canada (http://collection.nlc-bnc.ca); and that of the

Distribution Service of the Canadian Music Centre (www.musiccentre.ca). The CD

format contains two versions of the Catalogue: one with the photographs in black

and white, and the other featuring colour photographs wherever colour pictures

served as the original source. Both version of the CD also contain a section of special

colour photograph reproductions (pages 83-91).

This Catalogue may be printed out in a hard copy in order to facilitate its use by

performers and other interested readers. However, the copyright does not permit any

changes to the text or illustrations in the catalogue.

http://collection.nlc-bnc.ca

http://www.musiccentre.ca

11

Abbreviations

ACM Anthology of Canadian Music

B.C. British Columbia

bar. baritone

BMus Bachelor of Music

CBC Canadian Broadcasting Corporation

Clar. clarinet

CMC Canadian Music Centre

EMC Encyclopedia of Music in Canada

euph. euphonium

Lazarevich Gordana Lazarevich, The Musical World of Frances James and Murray Adaskin, University of Toronto Press, 1988

LSQ The Lafayette String Quartet: Ann Elliott-Goldschmid,violin, Sharon Stanis, violin, Joanna Hood, viola,Pamela Highbaugh Aloni, cello

mvt. movement

mvts. movements

Niwa Kathleen Niwa, The Adaskin Art Collection, the Maltwood Art Museum and Gallery, Victoria, 1988

No. number

OUP Oxford University Press

PTY Recital Hall Phillip T. Young Recital Hall, School of Music,University of Victoria

perc. percussion

sax. saxophone

TAC The Adaskin Collection

ten. tenor

TSO Toronto Symphony Orchestra

VSO Victoria Symphony Orchestra

Vol. volume

WSO Windsor Symphony Orchestra

12

Catalogue Number • Composition Title • Date • Timing

23 Adagio for Cello & Piano (1973) (5’40”)56 Adagio for Cello & Orchestra (1975) (5’40”)57 Algonquin Symphony (1958) (24’)

3 Andante for Solo Violin, Flute, Bb Clarinet, Bass & String Quartet (1964) (7’30”)An Eriskay Love Lilt for Orchestra (See Appendix B)

76 An Ontario Variation for Solo Piano (1980) (3’)101 A Simple Tune Without Words for Soprano, Piano

& Percussion (a China Bowl) (1981) (2’)102 Autumn Song for Soprano & Bassoon (1965) (5’)100 A Wedding Toast for Soprano & Guitar (1996) (3’)98 A Wedding Toast for Soprano & Piano (1992) (3’)99 A Wedding Toast for Soprano & String Quartet

(1994) (3’30”)Back the Attack for Chorus (1943) (See Appendix B)

58 Ballet Symphony (1951) (26’50”)4 Bassoon Quintet for String Quartet & Bassoon

(1977) (21’36’)49 Brass Fanfare for a Wedding for Brass Quintet and

Tenor Drum (1981) (1’45”)104 Busy for Soprano & Oboe or Violin (1992) (5’)111 Calisthenics for Violin & Piano (1968) (3’10”) 24 Canzona & Rondo for Violin & Piano (1949)

(7’30”)36 Capriccio for Piano & Orchestra (1961) (19’)

5 Cassenti Concertante for Bassoon, Oboe, Clarinet,Violin & Piano (1963) (9’15”)

59 Celebration Overture (1953) (9’) (Originally calledCoronation Overture)

37 Concerto for Bassoon & Orchestra (1960) (14’55”)60 Concerto for Orchestra (1990) (29’)38 Concerto No.1 for Viola & Orchestra (1991) (18’)39 Concerto No.2 for Viola & Orchestra (1995) (18’)40 Concerto for Violin & Orchestra (1956) (18’)

112 Dance for Violin & Piano (1963) (2’10”) 61 Dance Concertante for Orchestra (1983) (12’20”)

114 Daydreams for Eb Alto Saxophone & Piano (1971) (3’)

115 Daydreams for Bb Clarinet & Piano (1971) (3’) 116 Daydreams for Two Violins (2000) (3’20”) 117 Daydreams for Violin & Cello (1982) (3’) 113 Daydreams for Violin & Piano (1968) (3’) 118 Dedication for Violin & Piano (1963) (3’10”) 62 Diversion for Orchestra (“An Entertainment”)

(1969) (8’30”)41 Divertimento No.1 for two Violins & Piano (1956)

(11’)42 Divertimento No.2 for Violin & Harp (1964)

(4’45”)

A L P H A B E T I C A L L I S T O F T I T L E S

43 Divertimento No.3 for Violin, Horn in F & Bassoon (1965) (15’)

44 Divertimento No.4 for Trumpet & Orchestra (1970) (11’37”)

45 Divertimento No.5 for two Guitars & Orchestra (1980) (11’50”)

46 Divertimento No.6 for Solo Percussion & Orchestra (1985) (16’20”)

47 Divertimento No.7 for two Celli & Piano (1985) (7’)

1 Divertimento No.8 for Concert Band (1986) (11’)48 Divertimento No.9 for Violin, Viola & Cello (1998)

(8’)25 Duo for Viola & Guitar (1996) (17’)26 Duo for Viola & Piano (1999) (21’)

6 Encore for String Quartet & Bassoon (1991) (3’)105 Epitaph for Soprano & Piano (1948) (2’)77 Eskimo Melodies for Piano (1980) (5’10”)

119 Essay for Strings for Junior Orchestra (1972) (5’30”)

120 Etude No.1 for Piano (1992) (5’45”) Etude No.3 for Violin and Piano(1942) (See Appendix B)

50 Fanfare for 2 Trumpets in Bb, 2 Horns in F, 1 TenorTrombone, 1 Tuba, 3 Tenor Drums (1988) (5’30”)

51 Fanfare for Brass Quintet (1977) (1’) 52 Fanfare for Orchestra (1970) (4’)

121 Finki, Where Are You for two Violas (2000) (3’) 78 Gabrielle for Solo Violin (1997) (6’30”)55 Grant, Warden of the Plains – an Opera. Libretto

by Mary Elizabeth Bayer (1966) (58’)122 Gretchen for Piano (1992) (3’) 123 Gretchen at Seven for Violin & Piano (1989)

(2’30”) 106 Hymn of Thanks for Soprano, Alto or Tenor &

Piano – Solo or Unison Voices (1953) (1’30”) 27 Impromptu for Violin & Piano (1982) (10’)

7 In Memoriam – Frances James Adaskin (February 3, 1903 – August 22, 1988) for Flute, Oboe, Clarinetin Bb, Bassoon, Horn in F, Violins 1 & 2, Viola,Cello, Bass (1988) (12’30”)

8 Introduction and Rondo for Piano, Violin, Viola & Cello (1957) (9’)

9 In Praise of “Canadian Painting in the Thirties”for Strings & Piano (1975) (21’)

10 Jesu, Joy of Man’s Desiring for Violin, Cello & Piano (1939) (4’30)

124 Legato and Ricochet for Violin & Piano (1968) (3’10”)

63 March No.1 for Orchestra (1950) (3’)64 March No.2 for Orchestra (1953) (3’)65 March No.3 for Orchestra (1981) (5’)11 Musica Victoria for two Violins, Cello, Bass &

Piano (2000) (10’)

13

12 Music for Brass Quintet (1977) (8’)53 M/V Askov for Solo Trumpet (1990) (6’30”)

Never Forever (see Appendix B)2 Night Is No Longer Summer Soft for High School

Band (1970) (2’50”)28 Nocturne for Clarinet & Piano (1978) (10’)66 Nootka Ritual for Orchestra (1974) (8’)54 Octet for Strings – Fanfare for Eight Celebrities for

two String Quartets (1993) (4’45”)107 Of Man and the Universe for Soprano or Tenor,

Violin & Piano (1967) (9’33”)29 Pas De Deux and Fugue for two Pianos (1951)

(9’30”)13 Piano Quartet for Piano, Violin, Viola & Cello

(1995) (16’30”)67 Qalala and Nilaula of the North for Woodwinds,

Percussion, and Strings (1969) (19’)125 Quiet Song for Violin & Piano (1963) (2’40”) 79 Rankin Inlet – Eskimo Song for Piano Four-hands

(1978) (5’10”)80 Rondalee for Piano (1993) (5’)126 Rondino for Orchestra (1964) (6’30”) 14 Rondino for Nine Instruments for Flute, Oboe,

Clarinet in Bb, Bassoon, Horn in F & String Quartet (1961) (4’20”)

68 Saskatchewan Legend for Orchestra (1959) (12’50”)

127 Savannah for Piano (1992) (2’45”) 69 Serenade Concertante for Orchestra (1954) (7’25”)128 Serenade for Strings (1934) (6’45”)30 Sonata for Cello & Piano (1981) (16’15”)31 Sonata for Violin & Marimba (“Padre e Figlio”)

(2000) (19’) 32 Sonata No.1 for Violin & Piano (1946) (15’)33 Sonata No.2 for Violin & Piano ((1987) (12’)81 Sonata for Piano (1950) (9’10”)82 Sonata No.1 for Solo Violin (1996) (12’30”)83 Sonatine Baroque for Solo Violin (1952) (9’50”)84 Sonatine Baroque for Solo Viola (1999) (9’50”)15 String Quartet No.1 (1963) (22’37”)16 String Quartet No.2 (“La Cadenza”) (1994)

(29’20”)17 String Quartet No.3 (“I Tre Vecchi Amici”) (1998)

(27’33”)18 String Quintet for String Quartet & Contra Bass

(1995) (20’50”)70 Suite for Orchestra (1948) (15’)71 Suite for Strings (1949) (15’)

Sweet and Low (no date) for Violin, Cello, and Piano (See Appendix B)

103 The Bells of Old England (1940s) for Soprano,Alto, or Tenor Voice & Piano (2’)

34 T’Filat Shalom – A Prayer for Peace for Violin & Piano (1974) (6’45”)

72 T’Filat Shalom – A Prayer for Peace for Violin & Orchestra (1986) (6’45”)

86 T’Filat Shalom – A Prayer for Peace for Solo Violin(2000) (6’45”)

The Bee for Violin, Cello and Piano. (No date.) (See Appendix B)

108 The Prairie Lily for Soprano Solo or Unison Voices and Piano (1967) (2’15”)

109 The Secret for Soprano & Oboe or Violin (1992) (5’30”)

110 The Shepherd for Soprano & Piano (1934) (1’40”)73 The Travelling Musicians for Narrator/Singer

(Soprano or Tenor) & Orchestra (1983) (25’) Text by P.K. Page

74 The Travelling Musicians for Narrator/Singer (Soprano or Tenor) & Chamber Orchestra (1997) (25’) Text by P.K. Page

75 There Is My People Sleeping for Orchestra (1970) (12’) (5’)

85 Thirds and Octaves, Etcetera for Solo Piano (1996) (5’)

129 Three Tunes for Strings for Junior Orchestra (1976) (12’)

130 Toccatina for Piano (1971) (2’50”)19 Trio for Flute, Cello & Piano (1970) (17’30”)20 Trio for Violin, Cello & Piano (1999) (17’30”)87 Two Pieces for Viola da Gamba (1972) (9’15”)35 Two Portraits for Violin & Piano (1973) (13’)

Variations on a Theme of Murray Adaskin (see Gretchen, No.122)

88 Vocalise No.1 for Solo Bb Clarinet (1989) (6’30”)89 Vocalise No.1 for Solo Flute (1990) (6’30”)90 Vocalise No.1 for Solo Viola (1990) (6’30”)91 Vocalise No.1 for Solo Violin (1992) (6’30”)92 Vocalise No.2 “In 5/4 Time” for Solo Bassoon

(1994) (4’)93 Vocalise No.2 “In 5/4 Time” for Solo Cello (1994)

(4’)94 Vocalise No.2 “In 5/4 Time” for Solo Bb Clarinet

(1994) (4’)95 Vocalise No.2 “In 5/4 Time” for Solo Viola (1996)

(4’)96 Vocalise No.2 “In 5/4 Time” for Solo Violin (1996)

(4’)131 Waltzling for Piano (1995) (1’30”) 21 Woodwind Quintet No.1 (1974) (13’30”)22 Woodwind Quintet No.2 (1993) (16’55”)97 Zelda for Solo Violin (1996) (9’45”)

14

C L A S S I F I E D L I S T O F C O M P O S I T I O N S

I BandII Chamber WorksIII Compositions for two InstrumentsIV Concerti for Solo Instruments and OrchestaV DivertimentiVI FanfaresVII Opera

VIII Orchestral WorksIX Solo InstrumentsX Vocal Works XI Works for Beginner, Intermediate and

Advanced Performers

Catalogue Number • Composition Title • Date • Timing

I Band1 Divertimento No.8 Concert Band (1986) (11’) 2 Night Is No Longer Summer Soft for High School

Band (1970) (2’50”)

II Chamber Works3 Andante for Solo Violin, Flute, Bb Clarinet, String

Quartet & Bass (1964) (7'30")99 A Wedding Toast for Soprano & String Quartet

(1994) (3’30”)4 Bassoon Quintet for String Quartet & Bassoon

(1977) (21'30")5 Cassenti Concertante for Bassoon, Oboe, Clarinet,

Violin & Piano (1963) (9'15")6 Encore for String Quartet & Bassoon (1991) (3')7 In Memoriam – Frances James Adaskin (February

3, 1903 – August 22, 1988) for Flute, Oboe, ClarinetBb, Bassoon, Horn in F, Violins 1 & 2, Viola, Cello,Bass (1988) (12'30")

8 Introduction and Rondo for Piano, Violin, Viola,Cello (1957) (9’)

9 In Praise of “Canadian Painting in the Thirties” forStrings and Piano (1975) (21’)

10 Jesu, Joy of Man's Desiring for Violin, Cello & Piano (1939) (4'30")

11 Musica Victoria for two Violins, Cello, Bass & Piano (2000) (10”)

12 Music for Brass Quintet (1977) (8')107 Of Man and the Universe for Soprano or Tenor,

Violin & Piano (1967) (9'33")13 Piano Quartet for Piano, Violin, Viola & Cello

(1995) (16'30")

14 Rondino for Nine Instruments for Flute, Oboe,Clarinet in Bb, Bassoon Horn in F & String Quartet(1961) (4'20")

128 Serenade for Strings (1934) (6’45”)15 String Quartet No.1 (1963) (22’37”)16 String Quartet No.2 (“La Cadenza”) (1994)

(29’20”)17 String Quartet No.3 (“I Tre Vecchi Amici”) (1998)


(1995) (20’50”)19 Trio for Flute, Cello & Piano (1970) (17’30”)20 Trio for Violin, Cello & Piano (1999) (17’30”)21 Woodwind Quintet No.1 (1974) (13’30”)22 Woodwind Quintet No.2 (1993) (16’55”)

III Compositions for Two Instruments23 Adagio for Cello & Piano (1973) (5’40”)24 Canzona & Rondo for Violin & Piano (1949)

(7’30”) 25 Duo for Viola & Guitar (1996) (17’)26 Duo for Viola & Piano (1999) (17’)27 Impromptu for Violin & Piano (1982) (10’)28 Nocturne for Clarinet & Piano (1978) (10’)29 Pas De Deux and Fugue for two Pianos (1951)

(9’30”)30 Sonata for Cello & Piano (1981) (16’15”)31 Sonata for Violin & Marimba (“Padre e Figlio”)

(2000) (19’) 32 Sonata No.1 for Violin & Piano (1946) (15’)33 Sonata No.2 for Violin & Piano (1987) (12’)34 T'Filat Shalom – A Prayer for Peace for Violin &

Piano (1974) (6’45”)35 Two Portraits for Violin & Piano (1973) (13’)

IV Concerti for Solo Instrument & Orchestra

36 Capriccio for Piano & Orchestra (1961) (19’)37 Concerto for Bassoon & Orchestra (1960) (14’55”)38 Concerto No.1 for Viola & Orchestra (1991) (18’)39 Concerto No.2 for Viola & Orchestra (1995) (18’)40 Concerto for Violin & Orchestra (1956) (18’)

V Divertimenti41 Divertimento No.1 for two Violins & Piano (1956)

(11’)42 Divertimento No.2 for Violin & Harp (1964)

(4’45”)

15

43 Divertimento No.3 for Violin, Horn in F & Bassoon (1965) (15’)

44 Divertimento No.4 for Trumpet & Orchestra (1970) (11’37”)

45 Divertimento No.5 for two Solo Guitars & Orchestra (1980) (11’50”)

46 Divertimento No.6 for Solo Percussion & Orchestra (1985) (16’20”)

47 Divertimento No.7 for two Celli & Piano (1985) (7’)

1 Divertimento No.8 for Concert Band (1986) (11’)48 Divertimento No.9 for Violin, Viola & Cello (1998)

(8’)

VI Fanfare49 Brass Fanfare for a Wedding for Brass Quintet and

Tenor Drum (1981) (1’45”)50 Fanfare for 2 trumpets in Bb, 2 horns in F, 1 tenor

trombone, 1 tuba, 3 tenor drums (1988) (5’30”)51 Fanfare for Brass Quintet (1977) (1’)52 Fanfare for Orchestra (1970) (4’)53 M/V Askov for Solo Trumpet (1990) (6’30”)54 Octet for Strings – Fanfare for Eight Celebrities for

two String Quartets (1993) (4’45”)

VII Opera55 Grant, Warden of the Plains (1966) (58') Libretto

by Mary Elizabeth Bayer

VIII Orchestral Works56 Adagio for Cello & Orchestra (1975) (5'40") 57 Algonquin Symphony (1958) (24')58 Ballet Symphony (1951) (26'50")59 Celebration Overture (originally called Coronation

Overture) (1953) (9')60 Concerto for Orchestra (1990) (29')61 Dance Concertante for Orchestra (1983) (12’20”)62 Diversion for Orchestra (“An Entertainment”)

(1969) (8’30”)44 Divertimento No.4 for Trumpet & Orchestra

(1970) (11’37”)45 Divertimento No.5 for two Solo Guitars &

Orchestra (1980) (11’)46 Divertimento No.6 for Solo Percussion &

Orchestra (1985) (16’20”)63 March No.1 for Orchestra (1950) (3’)64 March No.2 for Orchestra (1953) (3’)65 March No.3 for Orchestra (1981) (5’)66 Nootka Ritual for Orchestra (1974) (8’)67 Qalala and Nilaula of the North for Woodwinds,

Percussion & Strings (1969) (19’)68 Saskatchewan Legend for Orchestra (1959)

(12’50”)69 Serenade Concertante for Orchestra (1954) (7’25”)

70 Suite for Orchestra (1948) (15’)71 Suite for Strings (1949) (15’)72 T'Filat Shalom – A Prayer for Peace for Solo Violin

& Orchestra (1986)(6’45”)73 The Travelling Musicians for Narrator/Singer

(Soprano or Tenor) & Orchestra (1983) (25’) Text by P.K. Page

74 The Travelling Musicians for Narrator/Singer (Soprano or Tenor) & Chamber Orchestra (1997) (25’) Text by P.K. Page

75 There Is My People Sleeping for Orchestra (1970) (12’)

IX Solo Instruments76 An Ontario Variation for Piano (1980) (3’)77 Eskimo Melodies for Piano (1980) (5’10”)78 Gabrielle for Solo Violin (1997) (6’30”)79 Rankin Inlet - Eskimo Song for Piano Four-hands

(1978) (5’10”)80 Rondalee for Piano (1993) (5’)81 Sonata for Piano (1950) (9’10”)82 Sonata No.1 for Violin (1996) (12’30”)83 Sonatine Baroque for Violin (1952) (9’50”)84 Sonatine Baroque for Viola (1999) (9’50”)85 Thirds and Octaves, Etcetera for Piano (1996) (5’)86 T’Filat Shalom – A Prayer for Peace for Solo

Violin (2000) (6’45”)87 Two Pieces for Viola da Gamba (1972) (9’15”)88 Vocalise No.1 for Solo Bb Clarinet (1989) (6’30”)89 Vocalise No.1 for Solo Flute (1990) (6’30”)90 Vocalise No.1 for Solo Viola (1990) (6’30”)91 Vocalise No.1 for Solo Violin (1992) (6’30”)92 Vocalise No.2 "In 5/4 Time" for Solo Bassoon

(1994) (4’)93 Vocalise No.2 "In 5/4 Time" for Solo Cello (1994)

(4’)94 Vocalise No.2 "In 5/4 Time" for Solo Bb Clarinet



(4’)97 Zelda for Violin (1996) (9’45”)

X Vocal Works102 Autumn Song for Soprano & Bassoon (1965) (5’)103 The Bells of Old England for Soprano, Alto or

Tenor Voice & Piano (1940s) (2’)104 Busy for Soprano & Oboe or Violin (1992) (5’)105 Hymn of Thanks for Soprano, Alto or Tenor &

Piano – Solo or Unison Voices (1953) (1’30”)107 Of Man and the Universe for Soprano or Tenor,

Violin & Piano (1967) (9’33”)108 The Prairie Lily for Soprano Solo or Unison Voices

and Piano (1967) (2’15”)

16

109 The Secret for Soprano & Oboe or Violin (1992) (5’30”)

110 The Shepherd for Soprano & Piano (1934) (1’40”)73 The Travelling Musicians for Narrator / Singer

(Soprano or Tenor) & Orchestra (1983) (25’). Text by P.K. Page

74 The Travelling Musicians for Narrator/Singer (Soprano or Tenor) & Chamber Orchestra (1997) (25’). Text by P.K. Page

101 Simple Tune Without Words for Soprano, Piano & Percussion (a China Bowl) (1981) (2’)

100 A Wedding Toast for Soprano & Guitar (1996) (3’)98 A Wedding Toast for Soprano & Piano (1992) (3’)99 A Wedding Toast for Soprano & String Quartet

(1994) (3’30”)

XI Works for Beginner, Intermediate and Advanced Performers

111 Calisthenics for Violin & Piano (Intermediate & Advanced Violinist) (1968) (3’10”)

112 Dance for Violin & Piano (Intermediate & Advanced Violinist) (1963) (2’10”)

113 Daydreams for Violin & Piano (Intermediate & Advanced Violinist) (1968) (3’)

114 Daydreams for Eb Alto Saxophone & Piano(Intermediate & Advanced Saxophonist) (1971) (3’)

115 Daydreams for Bb Clarinet & Piano (Intermediate & Advanced Clarinettist) (1971) (3’)

116 Daydreams for Two Violins (Intermediate & Advanced Violinists) (2000) (3’20”)

117 Daydreams for Violin & Cello (Intermediate & Advanced Performers) (1982) (3’)

118 Dedication for Violin & Piano (Intermediate & Advanced Violinist) (1963)(3’10”)

119 Essay for Strings for Junior Orchestra (1972) (5’30”)

120 Etude No.1 for Piano (Advanced Pianist) (1992) (5’45”)

121 Finki, Where Are You for two Violas (Beginner Violists) (2000) (3’)

122 Gretchen for Piano (Intermediate & Advanced Pianist) (1992) (3’)

123 Gretchen at Seven for Violin & Piano (Intermediate& Advanced Violinist) (1989) (2’30”)

124 Legato and Ricochet for Violin & Piano (Intermediate & Advanced Violinist) (1968) (3’10”)

125 Quiet Song for Violin & Piano (Beginner Violinist) (1963) (2’40”)

80 Rondalee for Piano (Advanced Pianist) (1993) (5’)126 Rondino for Orchestra (Junior Orchestra) (1964)

(6’30”)127 Savannah for Piano (Intermediate Pianist) (1992)

(2’45”)128 Serenade Strings for High School String Orchestra

(1934) (6’45”)129 Three Tunes for Strings for Junior Orchestra

(1976) (12”) 130 Toccatina for Piano (Beginner Pianist) (1971)

(2’50”)131 Waltzling for Piano (Intermediate Pianist) (1995)

(1’30”)

17

A L P H A B E T I C A L L I S T O F C O M P O S I T I O N SB Y D E C A D E

Decade • Catalogue Number • Composition Title • Date •Timing

1930s

10 Jesu, Joy of Man’s Desiring for Violin, Cello & Piano (1939) (4’30”)

128 Serenade for Strings (1934) (6’45”)110 The Shepherd for Soprano & Piano (1934) (1’40”)

1940s

24 Canzona & Rondo for Violin & Piano (1949) (7’30”)

105 Epitaph for Soprano & Piano (1948) (2’)32 Sonata No.1 for Violin & Piano (1946) (15’)70 Suite for Orchestra (1948) (15’)71 Suite for Strings (1949) (15’)

103 The Bells of Old England for Soprano, Alto, or Tenor Voice and Piano (1940s’) (2’)

1950s

57 Algonquin Symphony (1958) (24’)58 Ballet Symphony (1951) (26’50”)59 Celebration Overture (originally called Coronation

Overture) (1953) (9’)40 Concerto for Violin & Orchestra (1956) (18’)41 Divertimento No.1 for two Violins & Piano (1956)

(11’) 106 Hymn of Thanks for Soprano, Alto or Tenor &

Piano, Solo or Unison Voices (1953) (1’30”)8 Introduction and Rondo for Piano, Violin, Viola &

Cello (1957) (9’)63 March No.1 for Orchestra (1950) (3’)29 Pas De Deux and Fugue for two Pianos (1951)

(9’30”)68 Saskatchewan Legend for Orchestra (1959)

(12’50”)69 Serenade Concertante for Orchestra (1954) (7’25”)89 Sonata for Piano (1950) (9’10”)83 Sonatine Baroque for Solo Violin (1952) (9’50”)

1960s

3 Andante for Solo Violin, Flute, Bb Bass Clarinet,String Quartet & Bassoon (1964) (7’30”)

102 Autumn Song for Soprano & Bassoon (1965) (5’)111 Calisthenics for Violin & Piano (1968) (3’10”) 36 Capriccio for Piano & Orchestra (1961) (19’)

5 Cassenti Concertante for Bassoon, Oboe, Clarinet,Violin & Piano (1963) (9’15”)

37 Concerto for Bassoon & Orchestra (1960) (14’55”)112 Dance for Violin & Piano (1963) (2’15”)

113 Daydreams for Violin & Piano (1968) (3’) 118 Dedication for Violin & Piano (1963) (3’10”) 62 Diversion for Orchestra (“An Entertainment”)

(1969) (8’30”)42 Divertimento No.2 for Violin & Harp (1964)

(4’45”)43 Divertimento No.3 for Violin, Horn in F &

Bassoon (1965) (15’)55 Grant, Warden of the Plains – an Opera (1966)

(58’). Libretto by Mary Elizabeth Bayer 124 Legato and Ricochet for Violin & Piano (1968)

(3’10”) 64 March No.2 for Orchestra (1953) (3’)

107 Of Man and the Universe for Soprano or Tenor,Violin & Piano (1967) (9’33”)

125 Quiet Song for Violin & Piano (1963) (2’40”)67 Qalala and Nilaula of the North for Woodwinds,

Percussion & Strings (1969) (19’)126 Rondino for Orchestra (1964) (6’30”)14 Rondino for Nine Instruments for Flute, Oboe,

Clarinet in Bb, Bassoon, F Horn & String Quartet (1961) (4’20”)

15 String Quartet No.1 (1963) (22’37”)108 The Prairie Lily for Soprano Solo or Unison Voices

and Piano (1967) (2’15”)

1970s

23 Adagio for Cello & Piano (1973) (5’40”)56 Adagio for Cello & Orchestra (1975) (5’40”)

4 Bassoon Quintet for String Quartet & Bassoon (1977) (21’36’)

114 Daydreams for Eb Alto Saxophone & Piano (1971) (3’)

115 Daydreams for Bb Clarinet & Piano (1971) (3’) 44 Divertimento No.4 for Trumpet & Orchestra

(1970) (11’37”) 119 Essay for Strings for Junior Orchestra (1972)

(5’30”)52 Fanfare for Orchestra (1970) (4’)

9 In Praise of “Canadian Painting in the Thirties”for Strings & Piano (1975) (21’)

12 Music for Brass Quintet (1977) (8’)2 Night Is No Longer Summer Soft for High School

Band (1970) (2’50”)28 Nocturne for Clarinet & Piano (1978) (10’)66 Nootka Ritual for Orchestra (1974) (8’)79 Rankin Inlet – Eskimo Song for Piano Four-hands

(1978) (5’10”)34 T’Filat Shalom – A Prayer for Peace for Violin &

Piano (1974) (6’45”)75 There Is My People Sleeping for Orchestra (1970)

(12’)

18

12 Three Tunes for Strings for Junior Orchestra (1976) (12’)

130 Toccatina for Piano (1971) (17’30”)19 Trio for Flute, Cello & Piano (1970) (17’30”)87 Two Pieces for Viola da Gamba (1972) (9’15”)35 Two Portraits for Violin & Piano (1973) (13’)21 Woodwind Quintet No.1 (1974) (13’30”)51 Fanfare for Brass Quintet (1977) (1’)

1980s

76 An Ontario Variation for Solo Piano (1980) (3’)101 A Simple Tune Without Words for Soprano, Piano

& Percussion (a China Bowl) (1981) (2’)49 Brass Fanfare for a Wedding for Brass Quintet and

Tenor Drum (1981) (1’45”)61 Dance Concertante for Orchestra (1983)(12’20”)

117 Daydreams for Violin & Cello (1982) (3’) 45 Divertimento No.5 for two Guitars & Orchestra

(1980) (11’50”)46 Divertimento No.6 for Solo Percussion &

Orchestra (1985) (16’20”)47 Divertimento No.7 for two Celli & Piano (1985)

(7’)1 Divertimento No.8 for Concert Band (1986) (11’)

77 Eskimo Melodies for Piano (1980 (5’10”)50 Fanfare for 2 Trumpets in Bb, 2 Horns in F, 1 Tenor

Trombone, 1 Tuba, 3 Tenor Drums (1988) (5’30”) 123 Gretchen at Seven for Violin & Piano (1989)

(2’30”) 27 Impromptu for Violin & Piano (1982) (10’)

7 In Memoriam – Frances James Adaskin (February 3, 1903 – August 22, 1988) for Flute, Oboe, Clarinetin Bb, Bassoon, Horn in F, Violins 1 & 2, Viola,Cello, Bass (1988) (12’30”)

65 March No.3 for Orchestra (1981) (5’)30 Sonata for Cello & Piano (1981) (16’15”)33 Sonata No.2 for Violin & Piano (1987) (12’)72 T’Filat Shalom – A Prayer for Peace for Violin &

Orchestra (1986) (6’45”)73 The Travelling Musicians for Narrator/Singer

(Soprano or Tenor) & Chamber Orchestra (1983) (25’) Text by P.K. Page

88 Vocalise No.1 for Solo Bb Clarinet (1989) (6’30”)

1990s

100 A Wedding Toast for Soprano & Guitar (1996) (3’)98 A Wedding Toast for Soprano & Piano (1992) (3’)99 A Wedding Toast for Soprano & String Quartet

(1994) (3’30”)104 Busy for Soprano & Oboe or Violin (1992) (5’)60 Concerto for Orchestra (1990) (29’)38 Concerto No.1 for Viola & Orchestra (1991) (18’)39 Concerto No.2 for Viola & Orchestra (1995) (18’)48 Divertimento No.9 for Violin, Viola & Cello (1998)

(8’)

25 Duo for Viola & Guitar (1996) (17’)26 Duo for Viola & Piano (1999) (21’)

6 Encore for String Quartet & Bassoon (1991) (3’)120 Etude No.1 for Piano (1992) (5’45”) 78 Gabrielle for Solo Violin (1997) (6’30”)

122 Gretchen for Piano (1992) (3’) 53 M/V Askov for Solo Trumpet (1990) (6’30”)54 Octet for Strings – Fanfare for Eight Celebrities for

two String Quartets (1993) (4’45”)13 Piano Quartet for Piano, Violin, Viola & Cello

(1995) (16’30”)80 Rondalee for Piano (1993) (5’)

127 Savannah for Piano (1992) (2’45”) 82 Sonata No.1 for Solo Violin (1996) (12’30”)84 Sonatine Baroque for Solo Viola (1999) (9’50”)16 String Quartet No.2 (“La Cadenza”) (1994)

(29’20”)17 String Quartet No.3 (“Tre Vecchi Amici”) (1998)


(1995) (20’50”)109 The Secret for Soprano & Oboe or Violin (1992)

(5’30”)74 The Travelling Musicians for Narrator/Singer

(Soprano or Tenor) & Chamber Orchestra (1997) (25’). Text by P.K. Page

85 Thirds and Octaves, Etcetera for Solo Piano (1996) (5’)

20 Trio for Violin, Cello & Piano (1999) (17’30”)89 Vocalise No.1 for Solo Flute (1990) (6’30”)90 Vocalise No.1 for Solo Viola (1990) (6’30”)91 Vocalise No.1 for Solo Violin (1992) (6’30”)92 Vocalise No.2 “In 5/4 Time” for Solo Bassoon

(1994) (4’)93 Vocalise No.2 “In 5/4 Time” for Solo Cello (1994)

(4’)94 Vocalise No.2 “In 5/4 Time” for Solo Bb Clarinet



(4’)131 Waltzling for Piano (1995) (1’30”)22 Woodwind Quintet No.2 (1993) (16’55”)97 Zelda for Solo Violin (1996) (9’45”)

2000

116 Daydreams for Two Violins (2000) (3’20”) 121 Finki, Where Are You for Two Violas (2000) (3’) 11 Musica Victoria for Two Violins, Cello, Bass &

Piano (2000) (10’)36 Sonata for Violin & Marimba (“Padre e Figlio”)

(2000) (19’) 86 T’Filat Shalom – A Prayer for Peace for Solo Violin

(2000) (6’45”)

19

“It is difficult enough to write music but trying to explain it is even more challeng-

ing. Music, it seems to me, should reflect the personal voice of its composer. Having

said that, I cannot say precisely how that is done. Perhaps when a composer has

learned his craft and knows the work of composers past and present he is then free

to be his own person, to say or write what is true for himself.

My great wish and dream is that the music I write might be recognizably mine.

Canada is the home of my birth and of my life’s work. My music comes from my

Canadian experience. It is not for me to say, but I would dearly love should the

following quote from Leonard Isaacs be true when he stated in a CBC commentary

on my Algonquin Symphony: ‘…the texture is rather spare – the lines of the music

are clear and clean, and the interstices are devoid of lush undergrowth. There is a

feeling of great space and distance – not lacking in some asperity. Just as Aaron

Copland’s music is very American, so is Murray Adaskin’s Symphony in some true

but intangible way, very Canadian.’”

M U R R AY A D A S K I N

T H E C A T A L O G U E

20

[1] Divertimento No.8 (concert band)Victoria, 1986: one mvt. (11’)

Allegro – moderato – allegro – moderato – allegro –moderato

3.2.5.3 – 4.3.3.1, euph.– 2.1.1 sax.– timp., 4 perc.

Commissioned by the Saskatchewan MusicEducators Association.

Premiered October 18, 1986, Regina, by theHonours Band of the Province of Saskatchewan.Conductor, Howard Cable.

The work is designed to be played by the advancedhigh school level performer, and is based on a fragment of the composer’s song, The Prairie Lily(see No.108).

Dedicated to Dr. J. Francis Leddy, Dean of Arts andScience, instrumental in the appointment of MurrayAdaskin to the University of Saskatchewan.

[2] Night Is No Longer Summer Soft(high school band)Canoe Lake, Algonquin Park, 1970: one mvt.(2’50”)

Lento (sombre and gloomy)

7.2.13.2 – 4.9.9.3, euph. – 4.2.1 sax. – perc.

Commissioned by Robert Hordern, Aden BowmanCollegiate, for a band clinic in Saskatoon.

I BAND

Programme ofthe premiere ofDivertimentoNo.8.

Premiered February 1970, Saskatoon CentennialAuditorium, Band Clinic Final Concert, by the ‘A’Band of the Saskatoon School Music Teachers’Association. Conductor, Herb Jeffrey, ProvincialBand Consultant at the Department of Education.Transcription of the bass aria by the same title fromGrant, Warden of the Plains (see No.55).

At the second performance of the composition inNovember 1970, Dwaine Nelson, Director of Bandsand Wind Ensembles, University of Saskatchewan,wrote to the composer:

Your recent composition is an excellentcontribution to band music literature…I am sure that serious musicians serving asconductors of bands will welcome your work to their repertoire.

Dedicated to Björn Hafsteinn, who, in thecomposer’s words:

...helped me understand the problems ofscoring for student band. He spent one entireSunday afternoon with me checking everyplayer’s capability. He was of enormousassistance to me.

Adaskin,c.1970

21

[3] AndanteSaskatoon, 1964: one mvt. (7’30”)

Instruments: solo violin, flute, Bb clarinet (doubleson bass clarinet), string quartet & bass

Composed at the request of eminent Americanviolinist and close friend, Roman Totenberg, towhom the composer’s Concerto for Violin andOrchestra is dedicated. Re-scored here for soloviolin and chamber group from Concerto for Violin& Orchestra (see No.40).

Dedicated to Roman Totenberg.

I I CHAMBER WORKS

RomanTotenberg

A Wedding Toast (soprano and string quartet)

See No.99

[4] Bassoon Quintet (string quartet &bassoon)

Canoe Lake, Algonquin Park, 1977: three mvts.(21’36”)

Andante amabile e molto moderato (5’45”)Adagio (10’42”)Allegretto giocoso (5’49”)

Commissioned by CBC Toronto, the Quintet wasexpressly written for Vancouver bassoonist George

Zukerman and the Purcell String Quartet (violins,Norman Nelson and Joseph Peleg, viola, PhillipeEtter, and cello, Ian Hampton).

The premiere performance was recorded at CBCVancouver, April 19, 1978, by Zukerman and thePurcell String Quartet. Executive producer, GeorgeLaverock.

Composed at the Adaskins’ summer cottage, a“Shangri-La” setting which was the inspiration formany compositions. (See colour plate III)

No connection exists between this Quintet and theConcerto for Bassoon and Orchestra (see No.37) –also composed for Zukerman – other than Adaskin’sdeep affection for the instrument. His main intentwas to “produce a work of inner intensity andwarmth based on an economy of means andavoidance of redundant virtuoso passages.”

Dedicated “to my wife, Frances James, celebratingour 47th wedding anniversary.”

Frances James in concert with Louis Crerar at the BanffSprings Hotel c.1930.

22

[5] Cassenti Concertante (bassoon, oboe,clarinet, violin & piano)

Saskatoon, 1963: one mvt. (9’15”)

Adagio maestoso – allegro ma non troppo – menomosso e tranquillo – tempo II – adagio

Commissioned by the Cassenti Players ofVancouver through a grant from the CanadaCouncil.

Premiered January 19, 1964, Convocation Hall,University of Saskatchewan, by the Cassenti Players(director and bassoon, George Zukerman, oboe,Warren Stannard, clarinet, Kenneth Lee, violin,Arthur Polson, piano, Harold Brown.)

Dedicated to Saskatchewan artist and lifelong friendof the composer, Eli Bornstein. The artist, whostarted his academic career in the Art Departmentat the University of Saskatchewan in 1950increasingly specialized in the constructed reliefmedium. Since 1960, he has been the founder andeditor of The Structurist, a magazine promoting“free exchange and exploration of a wide variety ofideas contributing to…growing knowledge of theprocess of creation in all fields relating to art.”Adaskin and Bornstein not only shared a love ofmusic and art, but also a philosophical bent towardnature and art.

[6] Encore (string quartet & bassoon)

Victoria, 1991: one mvt. (3’)

Allegretto

Premiered February 24, 1991, Premiere DanceTheatre Harbourfront, Toronto. Bassoon, KathleenMcLean, violins, Sonia Visante and Lance Elbeck,viola, Doug Perry, and cello, David Heatherington.

Composed at the request of Robert Aitken, ArtisticDirector of the New Music Concerts, on theoccasion of the organization’s celebration of its20th anniversary, and the Canadian League ofComposers’ 40th anniversary. The Toronto concerthonoured five of Canada’s most vital and seniorcomposers: Violet Archer, Jean Papineau-Couture,Barbara Pentland, John Weinzweig, and MurrayAdaskin. With the exception of Pentland, all thecomposers were in attendance. The concert named,“The Challenging Generation”, closed with a co-operative work by the five to commemorate theoccasion.

Each composer’s segment was to last between one-and-a-half and three minutes. In order to create aconnecting link among the five segments whichwere to be performed as a single work, Weinzweigprovided the four-note motif F-E-Eb-Db to be usedin any order: melodically, as a chord, or in any other way. It was to be placed at the end of thecomposition as a bridge to the next segment. Theorder in which each segment was to be performedwas arranged according to the age of the com-poser, starting with Papineau-Couture as theyoungest, and ending with Adaskin as the eldest.

The titles of the selections were, LCC Célébration71 NMC: Collectif à Cinq, One Fifth on Four,Celebration, Solo Bassoon and String Quartet.

Adaskin’s composition is based on motives from the third movement of the Bassoon Quintet (see No.4).

Dedicated to Tony Bigge, son-in-law of thecomposer.

Eli Bornstein, (Detail) “Quadriplane Structurist Relief No.5”,1999-2000. Cover page from The Structurist, No.41/42,2001-2002 on “Art and Altruism, Aesthetics and Ethics”.The issue is dedicated to the memory of Murray Adaskin“composer, violinist, teacher, lover of the arts, and friend ofThe Structurist, 1906-2002.” (See colour plate VII)

23

[7] In Memoriam – Frances JamesAdaskin (Feb.3, 1903 – Aug.22, 1988)

Victoria, 1988: one mvt. (12’30”)

Allegro moderato – andante – scherzando –andante

Instruments: flute, oboe, Bb clarinet, bassoon, F horn, violins 1 & 2, viola, cello and bass

Premiered April 30, 1989, at a memorial concert forFrances Adaskin, PTY Recital Hall, School of Music,University of Victoria. Performers in order ofinstrument listing: Lanny Pollet, Alexandra Pohran,Betty Harbord, Nancy Hilborn, Richard Ely, PaulKling, Paul Culbertson, Jaroslav Karlovsky, HanaDedecius, Mary Rannie. Conductor, George Corwin.

The first section is a re-scoring and expansion ofthe Allegro moderato from Sonata No. 2 for Violinand Piano (see No.33). The second section isquoted in the Andante for the Concerto forOrchestra (see No.60).

Myfanwy Pavelic: Portrait of Frances Adaskin. Pencil andwatercolour on paper, 33.2 x 40.5 cm. 1979. The Adaskinestate. (See colour plate I.)

The mood of quiet grief is established by theopening bassoon solo (Allegro moderato). Thoughit occasionally gives way to outbursts of despair,this mood is generally maintained throughout the second section (Andante) and the third(Scherzando). The fourth section, a chorale-likeAndante, offers consolation, ending the work withthe transformation of the theme for bassoon solo.

Dedicated to Frances James Adaskin.

[8] Introduction and Rondo (piano, violin,viola and cello)

Saskatoon, 1957: two mvts. (9’)

Andante sostenuto Allegro

Premiered July, 21, 1959 as part of the SaskatoonGolden Jubilee Concerts. Violin, Rafael Druian,viola, Albert Falkove, cello, Robert Jamieson, and piano, John Simms. This performance wasbroadcast on July 29, 1959, on “CBC FestivalSeries”, the National network.

The work was originally composed in December1957 for a competition sponsored by theVancouver Festival for the following summer. Thewinning composition was to have been performedby a quartet including Victor Babin and WilliamPrimrose, but the work was not selected.

The Introduction was re-scored from the slowmovement of the Concerto for Violin andOrchestra (see No.40).

The Introduction and Rondo forms the basis of thePiano Quartet (see No.13), to which a thirdmovement – Maestoso – has been added.

24

[9] In Praise of “Canadian Painting inthe Thirties” (strings & piano)

Victoria, 1975: three mvts. (21’)

Paraskeva Clark (Lento e cantabile, 5’15”)Louis Muhlstock (Adagio, 6’19”)Charles Comfort (Allegretto – tempo giusto, 3’12”)

Commissioned through a grant from the CanadaCouncil by the Chamber Players of Toronto.

Premiered January 24, 1976, in Toronto by theChamber Players, a 15-piece ensemble formed in

1968 and directed by Victor Martinfrom the first violin chair.

Although the ensemble performed thecomposition with a harpsichord, thecomposer’s preference was to use thepiano. The work was written as apersonal tribute to the three artistswho became the Adaskins’ friendsduring the Depression era. Theirpaintings constituted part of theexhibition, “Canadian Painting in theThirties”, curated for the NationalGallery of Canada by Charles C. Hill,and shown in Vancouver in 1974. The composer recollects:

When I walked in, the first paintings thatgreeted us were the works that we had seen amillion times in their original studios…Itconjured up so many memories of the artiststhemselves and how we would meet them atparties…One of them…was C. W. Jefferys,whose marvellous water colours depictedscenes from early Canadian history.(From a 1984 taped interview at thecomposer’s home.)

Adaskin indicated that there was nodeliberate intention on his part todescribe his three friends throughthe music. The composition was anexpression of his deep affection andadmiration for them. Paraskeva Clark’senthusiastic response was recorded in thefollowing telegram:

Dear Murray, it is terrific, incredible! Musicinspired by painting! You and Mussorgsky’sPictures at an Exhibition, each movementidentified by a painter’s name. With my

Paraskeva Clark:“AlgonquinMorning, CanoeLake”, 1953. TheAdaskin estate. (Seecolour plate IV.)

profound gratitude and love to you and Fran,affectionately, Paraskeva.

Charles Comfort was also moved by Adaskin’stribute: “This is the greatest compliment ever paidme for my work of that period.” Louis Muhlstock,as a token of appreciation, sent the composer asmall sketch (which can no longer be located).

Dedicated to Victoria violist and conductor YarivAloni.

[10] Jesu, Joy of Man’s Desiring (violin,cello and piano)

Toronto, 1939: one mvt. (4’30”)

Moderato grazioso

Premiered at Toronto’s Royal York Hotel by theToronto Trio. Arranged by Adaskin from J.S. Bach’sCantata 147. During the thirteen years that MurrayAdaskin headed The Toronto Trio, playing in themagnificent dining room of the Royal York Hotel,his dream was to devote time to composing. One evening, in 1939, after playing his ownarrangement of Jesu, Joy of Man’s Desiring,Adaskin was approached by a guest of the hotel,Hubert J. Foss, founder of the Music Department ofOxford University Press (OUP), England. When toldthat OUP held the rights to this piece Adaskinassured him that he would no longer play thecomposition. Foss said such a gesture would not benecessary, and instead, offered to publish the work.

A memorandum of agreementwas signed, and the work

was immediatelylisted in The

Musical Times asbeing availablethrough OUP.

In 1993, thecopyright was

officiallyreturned to the

composer.

The Toronto Trio,1939. Left to right: LouisCrerar, piano, Murray Adaskin, violin andCornelius Ysselstyn, cello.

25

[11] Musica Victoria (two violins, cello, bass& piano)


Adagio maestoso – allegro ma non troppo – menomosso e tranquillo – allegro ma non troppo –adagio

Premiered March 18, 2001, by the ThüringerSalonquintett in the Alix Goolden Performance Hall,Victoria Conservatory of Music. Violins, AndreasHartmann and Egbert Funda, cello, Georg Fritzsch,bass, Peter Nelson, and piano, Johannes RainerEichhorn.

Adaskin was asked by Musica Victoria (theInternational Recital and Chamber Music Society of Victoria) to write a piece for them. At the sametime, bass player Peter Nelson contacted thecomposer from Germany, inquiring aboutcompositions written by Adaskin that would besuitable for performance by his ensemble. Theoutcome was that Adaskin’s final composition waswritten for and premiered by the ensemble, nowperforming it in concerts throughout Europe andthe United States.

Dedicated and given as a gift to Musica Victoria.

[12] Music for Brass Quintet


Adagio

Commissioned through the Ontario Arts Council byLawrence House of the University of Saskatchewan,Department of Music for the Toronto Brass Quintet(trumpets, Lawrence House and Stephen Chenette,bassoon, George Simpson, trombone, KennethKnowles, and tuba, J. Kent Mason)

Premiered April 1977 at the opening concert of the Guelph Summer Festival in Guelph, Ont.,commemorating the 150th anniversary of the city,Guelph, Ontario.

Composed in memory of Guelph-born celebratedCanadian tenor Edward Johnson (1878-1959), whoexcelled in the title role of Debussy’s Pelléas etMélisande. Johnson performed the role of Pelléasat the opera’s premiere on March 21, 1925, at theMetropolitan Opera in New York City. Adaskin’s

Music for Brass Quintet is based on a one-and-ahalf measure quotation from the opera.

Dedicated to the memory of Edward Johnson.

Of Man and the Universe (soprano or tenor,violin & piano)

See No.107

Octet for Strings – Fanfare for EightCelebrities (two string quartets)

See No.54

[13] Piano Quartet (piano, violin, viola &cello)

Victoria, 1995: three mvts. (16’30”)

Maestoso (7’30”)Andante sostenuto (5’)Allegro (4’)

Premiered July 31, 1996, Vancouver ChamberMusic Festival, Crofton House School. Violin,Martin Beaver, viola, Carla-Maria Rodrigues, cello,Joseph Elworthy, and piano, Angela Chang.Recorded in concert by CBC Winnipeg, January 8,2000, with the Adaskin String Trio and JamieKamura Parker.

The Andante Sostenuto and the Allegro movementsof the Piano Quartet were originally composed in1957 as Introduction and Rondo (see No.8). In1995, Adaskin added another movement – theMaestoso – a suggestion originally made byAmerican composer Aaron Copland, who, in 1957thought that the two-movement work wouldbenefit from the addition of a third movement.

Dedicated to Victoria pianist and friend Ewa Stojek-Lupin.

26

[14] Rondino for Nine Instruments


Allegro con spirito

Instruments: flute, oboe, Bb clarinet, bassoon, F horn & string quartet

Commissioned by CBC-TV Toronto for an all-musictelecast.

Premiered on CBC-TV, Toronto, March 25, 1962,by players from the CBC Symphony Orchestra.Conductor, Mario Bernardi.

Recorded: ACM 23, Vol. 3

The instrumentation and length of the piece werespecified by the CBC. Adaskin’s resultant work, inrondo form, is puckish, with strong rhythmicimpulses, happy and optimistic. Written in thefestive spirit of a carnival, the composition is craftedto show-off the individual qualities of eachinstrument. The intention was to present a rondowithout “any developmental complications.”

The work is dedicated to composer Charles Jones,who taught at the Juilliard School of Music in NewYork and who also collaborated with DariusMilhaud in Carpinteria, California and in Aspen,Colorado. The dedication is meant to reflect theinevitable influence of a composer with whomAdaskin studied occasionally, and admiredenormously.

Autograph of the first page of the score.

27

[15] String Quartet No.1

Saskatoon, 1963: three mvts. (22’37”)

Allegro (8’14”)Adagio (8’45”)Allegro (5’38”)

Commissioned by the CBC for the CanadianString Quartet through John Peter Lee Roberts,programme organizer at the CBC, Toronto.

Premiered March 25, 1963 on CBC’s “DistinguishedArtists Series”, by the Canadian String Quartet(violins, Albert Pratz and Bernard Robbins, viola,David Mankovitz, and cello, Laszlo Varga).

Recorded: TAC, Vol.1

Adaskin was somewhat disappointed with thequality of the premiere performance, as he felt“that the players hadn’t as yet passed playing‘notes’ at the time.” Nevertheless, the broadcastelicited considerable enthusiastic response fromacross Canada, exemplified in the followingcorrespondence between pianist Louis Crerar andthe composer:

Below: Letter of Louis Crerar to the composer.

Pianist Boris Roubakine was impressed with theQuartet’s “freshness, joy, imagination and, last butnot least, sincerity.” (letter to the composer April 6,1963)

In response to a request from the CBC fordescriptive program notes, Adaskin commented:

The String Quartet No.1 was written withoutany desire on my part to experiment with themedium. I used none of the special devicespeculiar to string instruments, but which areso often used by non string-playing com-posers. As a string player myself, I find theover-use of these devices tiresome, and sometimes even annoying. I did however, attemptto write a simple and innocent work for themost enchanting group of instruments everinvented, with the hope (and this is veryunpopular these days) that at some momentduring the course of the performance wemight be reminded how pleasant a world thiscould be.

In a 1992 concert in Convocation Hall, University of Saskatchewan, the Lafayette String Quartetperformed this work on the Amati instrumentsowned by the University. For the composer, whowas present at this performance, it was an over-whelming experience to hear this work interpretedon the Amati instruments which the University hadpurchased in 1958 at his recommendation: “Therewas a special joy for me to hear my String Quartet,which was originally composed in 1963 while I wasat the University of Saskatchewan.”

The acquisition of the 17th-century stringinstruments by the University of Saskatchewan hasan interesting history. The two violins, viola andcello originally made by the Amati family ofCremona Italy were purchased by the Saskatoonwheat farmer and amateur musician Stephen

Adaskin’s response to Crerar’s letter

28

Kolbinson, whose passion for chamber musicprompted him to search for these historicinstruments throughout Europe over a three-yearperiod. It was his wish that the Amati instrumentsbe owned by the University of Saskatchewan, andthe University eventually did purchase theseprecious instruments as a result of Murray Adaskin’simpassioned interventions.

Dedicated to the memory of Emil Mendel (1891-1963), brother of the well-known Saskatoon artsphilanthropist, and good friend of the Adaskins,Fred Mendel. The Mendel Art Gallery in Saskatoonwas created as a result of Fred Mendel’sintervention and support.

Adaskin with Stephen Kolbinson (right) displaying the Amati instruments.

[16] String Quartet No.2 (La Cadenza)

Victoria, 1994: four mvts. (29’20”)

Allegro moderato (5’37”)Andante amabile (6’14’)Adagio (7’08”)Allegretto scherzando (7’09”)

Commissioned by the University of Saskatchewanthrough a grant from the Canada Council.

Written for and premiered March 13, 1994, by theLSQ using the Amati instruments, ConvocationHall, University of Saskatchewan, Saskatoon. Dueto Joanna Hood’s hand injury, Yariv Aloni was a last

minute substitution toperform the viola part. BothAdaskin and Hood werepresent.

Recorded: TAC, Vol. 1

In Adaskin’s own words:

The quartet players areusing four very beautifulinstruments, and as Ibegan thinking aboutwriting my Quartet No. 2for them, it seemed soright that eachinstrument should beheard separately. Itnaturally followed that Iwould compose fourmovements, eachcontaining a cadenza.Hence the sub-title forthis composition…

In a letter to Dr. ClaudeThompson, University ofSaskatchewan, January 20,1994, Adaskin says:

While this work has beenan enormous andchallenging undertaking,it has been an excitingtime for me. I am sopleased to becommissioned by theUniversity of

29

Saskatchewan, a place so dear to me. To writefor the Lafayette String Quartet and to knowthey are playing on the Amati instrumentsmakes a dream come true. We are so fond ofthe LSQ players as individuals and as asperformers, we hold our breath, they play sobeautifully.

Saskatoon artist Eli Bornstein was particularlyimpressed by this work, as witnessed in thefollowing correspondence:

While the first movement prominently features thefirst violin and the cello – culminating in anextended cello cadenza – the second movementabounds in the “Chaplinesque” quality, which hadbecome Adaskin’s trademark. The second violin,prominent in this movement, engages in its owndistinctive cadenza, just as the viola takes over in

the cadenza in the third movement. Elements fromeach of the previous movements are recalled in thefourth movement, where a cadenza for the firstviolin includes some shimmering beautifulharmonics. Dedicated to his wife Dorothea LarsenAdaskin on the occasion of her 70th birthday.

30

The players with the composer. Left to right: Ann Elliott-Goldschmid, Sharon Stanis, Garry Karr, JoannaHood, Pamela Highbaugh Aloni.

[17] String Quartet No.3 (I Tre VecchiAmici)


Allegro moderato (7’25”)Moderato (12’50”)Largo (7’18”)

Premiered November 18, 2000, by the LSQ at thePTY Recital Hall, University of Victoria. Theperformance was recorded by CBC Vancouver.

Between 1954 and 1959 Adaskin composed threeorchestral works: Algonquin Symphony (see No.57), Saskatchewan Legend (see No.68) andSerenade Concertante (see No.69).

As the composer was very fond of these threeorchestral pieces, the idea came to him that hecould, in a new way, re-visit them by taking amovement from each orchestral work and re-working it for four string instruments. Hence StringQuartet No.3, I Tre Vecchi Amici – three oldfriends. It was both a great and a rewardingchallenge to write the music for four instrumentsthat was originally scored for an entire orchestra.

Dedicated to Commander US Navy, Andrew andMrs. GemmaBenson. TheBensons areenthusiasts ofCanadian musicand dear friendsof thecomposer.

[18] String Quintet (string quartet & contrabass)


Maestoso (9’57”)Grave (6’35”)Allegro vivo (5’08”)

Written for and premiered by the LSQ and theworld-renowned bassist Gary Karr, March 28, 1996,PTY Recital Hall, University of Victoria. Recordedfor broadcast by CBC Vancouver.


The String Quintet was performed during a galabirthday celebration “Murray Adaskin at 90”, as awork of love by the five musicians whom Adaskingreatly admired. The slow movement inspired byEskimo Melodies (see No.77) was “particularlymarvellous with its sonorities and harmonics – andas always [abounded in] the transparency of textureand clarity of form.” (Artist Colin Graham in a noteto the composer) After the performance, Gary Karrremarked ethusiastically…”it’s the first quintet everwritten that gives the bass an equal voice.”

Dedicated to the performers.

31

[19] Trio for Flute, Cello & Piano

Canoe Lake, Algonquin Park, 1970: threemvts. (17’30”)

Allegro moderato (5’30”)Lento (7’)Allegro giusto (5’)

Commissioned by the Alberta Chamber Triothrough a grant from the Canada Council.

First played in January 1971, by the AlbertaChamber Trio (piano, Gloria Saarinen, flute,Werner van Zweeden, and cello, TalmonHerz) during their concert tour for theJeunesses Musicales of Canada. The playersconsidered the official premiere to havetaken place February 23, 1972, at theUniversity of Calgary. Through theirenterprise and initiative, these three artistshave encouraged Canadian composers towrite works specifically for them, thusadding to the growing repertoire for thismedium.

During a performance of this work at the Universityof Western Ontario, Lenore Crawford of the FreePress reported, on January 31, 1971, that the work“breathes Canada, perhaps of landscapeinfrequently seen or experienced by today’s citydwellers…” She refers to the “spaciousness, soundof birds, wind, bells, trees, blowing along the shoresof Canoe Lake” and feels that it “has newness”within a traditional style of playing.

Dedicated, 1996, to Donald and Carolyn Larsen,the composer’s brother-in-law and sister-in-law.

[20] Trio for Violin, Cello & Piano


Allegro moderato (5’30”)Lento (7’)Allegro giusto (5’)

As with a number of other compositions, Adaskinhas re-voiced the Trio for Flute, Cello & Piano (seeNo.19) for the instrumentation above.

Dedicated to Gunner Møller Rasmussen and RomaEngmann, friends of the Adaskins, who reside inRoskilde, Denmark.

[21] Woodwind Quintet No.1


Allegretto – andantino – allegretto (4’14”) Andante – andantino – andante (5’42”)Allegro ma non troppo (1’45”)

Commissioned by the Pacific Wind Quintet througha grant from the Canada Council.

Premiered January 19, 1975 at the School of Musicof the University of Victoria, by the Pacific WindQuintet (as seen in photo, left to right: clarinet, TimParadise, oboe, Eileen Gibson, flute, Lanny Pollet,horn, Richard Ely, basoon, Jesse Read) which at thattime was ensemble-in-residence at the University ofVictoria.


Lloyd Dykk, from the Vancouver Sun, wasimpressed with the “four-note-figure and itspermutations enclosing a more playful passage torelieve the seriousness” in the slow movement.(April 29, 1973)

Saskatchewan artist and friend of the composer, EliBornstein, expresses himself most eloquently in thefollowing letter of March 25, 1975:

32

[22] Woodwind Quintet No.2


Adagio (6’51”)Adagio (6’22”)Scherzando (2’45”)

Commissioned for the Ottawa based Bel CantoWind Quintet, by the CBC. Producer, Radio Music,Jill La Forty.

Premiered May 8, 1994 in the Canadian Museumof Nature, Ottawa by the Bel Canto Wind Quintet(flute, Beverley Robinson, oboe, AngelaCasagrande, clarinet, Joy Skrapek, horn, ElizabethGriffiths Simpson, and bassoon, Mark Latouche).


Dedicated to Alfred and Cecelia Larsen, thecomposer’s brother-in-law and sister-in-law.

The composition received international exposurethrough performances given by the BergenWoodwind Quintet, which was chosen to performduring Bergen’s celebration of its selection asEurope’s “City of Culture” for the year 2000.

Dedicated to Donald and Margaret Mills, brother-in-law and sister-in-law of the composer .

33

I I I COMPOSITIONS FOR TWO INSTRUMENTS

Left to right: James Hunter, Robin Wood and Murray Adaskinleaving Craigdarroch Castle, the original home of the VictoriaConservatory of Music.

MusicAcademy ofthe West,Carpinteria,California. Left to right:MurrayAdaskin,Charles Jonesand DariusMilhaud.

[23] Adagio for Cello & Piano


Adagio

Commissioned by the Victoria Conservatory ofMusic through a grant from the Canada Council.

Premiered February, 1973, Victoria.Cello, JamesHunter, piano, Robin Wood.

Transcribed for cello and orchestra in 1973 (see No.56) and incorporated into the Sonata for Cello and Piano (see No.30).

Dedicated to the memory of the composer’sbrother, Leslie Adaskin (1904-1973).

[24] Canzona & Rondo (violin & piano)

Carpinteria, California, 1949: two mvts. (7’30”)

Canzona – andante (4’10”)Rondo – allegro giusto (3’20”)

Canzona premiered August 30, 1949 in SantaBarbara, California. Violin, Murray Adaskin, piano,Roy Bogas.

Recorded: ACM 23, Vol.2 (the whole composition)

The Canzona was composed in 1949 during theperiod of Adaskin’s study with Darius Milhaud atthe Music Academy of the West in Carpinteria,California.

In the Canzona, we were aiming for the longline. I remember reading about it in one ofCopland’s books, where he stated that writinga long line was the goal of every young com-poser; not everyone was capable of attainingthat goal. It could be that because I was aviolinist, I instinctively thought in terms of thelong singing lines which are manifested in theCanzona. (Lazarevich, p.142)

The French use the term “la grande ligne” formusic which gives a sense of flow – a sense ofcontinuity from the first note until the last. Somemonths later, Adaskin added a second movement, a Rondo, for a CBC performance by Americanviolinist Roman Totenberg. It was aired on February1, 1950, with Leo Barkin at the piano as part of the CBC Toronto’s “Wednesday Night” series.

Dedicated to the eminent American violinist andclose friend of the composer, Roman Totenberg (seeNo.3).

34

25] Duo for Viola & Guitar


Moderato (5’)Larghetto (6’)Allegretto – andante – allegretto (6’)

Premiered January 31, 1997, during a faculty recitalin the PTY Recital Hall, University of Victoria. Viola,Joanna Hood, guitar, Douglas Hensley.

Also arranged for viola and piano (see No.26).

Written for and dedicated to Joanna Hood, violistwith the LSQ.

[26] Duo for Viola & Piano

Victoria, 1999: three mvts (21’)

Moderato (7’)Larghetto (7’30”)Allegretto – andante – allegretto (6’30”)

Premiered February 3, 2001, at the PTY RecitalHall, University of Victoria. Viola, Joanna Hood,piano, Karen Enns.

A re-scoring of the Duo for Viola and Guitar withthe addition of extended solo sections for the piano(see No.25).

Dedicated to Joanna Hood.

[27] Impromptu (violin & piano)


Andante – a tempo – piu mosso – tempo primo – a tempo

Commissioned by Mark Neumann.

Premiered March 3, 1983, PTY Recital Hall, Schoolof Music, University of Victoria, by Mark Neumannduring his BMus. graduating recital, with JonasKvarnström, piano.

Dedicated to Mark Neumann.

[28] Nocturne (clarinet & piano)


Adagio

Commissioned by the International ClarinetCongress through the Ontario Arts Council.

Premiered August 10, 1978, Toronto. Clarinet,Stanley McCartney, piano, Mark Widner.

Dedicated to Avrahm Galper, former first clarinet ofthe Toronto Symphony Orchestra.

[29] Pas de Deux and Fugue (two pianos)

Carpinteria California, 1951: two mvts. (9’30”)

Pas de Deux (Slow: 4’30”)Fugue (5’)

Re-scored from the Ballet Symphony (see No.58).

Dedicated to Louis Sherman, violinist and childhoodfriend of the composer. Sherman was especiallyfond of this piece.

[30] Sonata for Cello & Piano Victoria, 1981: three mvts. (16’15”)

Allegro – andante cantabileAdagio Scherzando – andantino – adagio - adantino

Commissioned by Tom Akeley, instructor of cello,University of Windsor, through the Canada Council.

Premiered October 3, 1981, at the School ofMusic, University of Windsor. Cello, Tom Akeley,piano, Gregory Butler.

Recorded: ACM 23, Vol.5 and TAC, Vol.4

The Adagio movement was originally composed in1973 for cello and piano (see No.23). It wassubsequently transcribed for cello and orchestra(see No.56). The 1981 incarnation of this Adagiowas incorporated into the middle movement of thisthree-movement sonata at the suggestion of TomAkeley.

Cellist Tsuyoshi Tsutsumi, who recorded the sonatafor The Adaskin Collection, wrote to the composer

35

Adaskin and Tsutsumi sharing an informal moment.

on September 3, 1995…”the other day I looked atthe piece again, and was impressed again with thebeauty of it. Yes, I would be honoured to record itnext summer, please keep me posted.” Tsutsumi’saffinity for this composition confirmed its place within the international cello repertoire.

Dedicated to the memory of the composer’sbrother, John Adaskin (1908-1964).

Left to right: Jacques Israelievitch, Murray Adaskin andMichael Israelievitch.

[31] Sonata for Violin & Marimba (Padree Figlio)


Andante (4’)Andantino (10’40”) Allegro con spirito (4’20”)

Written at the request of TSO concertmaster,Jacques Israelievitch, as a composition to beperformed with his son, Michael.

Premiered July 31, 2000, at the Ottawa ChamberMusic Festival. Violin, Jacques Israelievitch, andmarimba, Michael Israelievitch.

The sonata is a reworking of earlier compositions inorder to adapt them for the combination of violinand marimba. The Andante is based on the 1949Canzona from Canzona e Rondo (see No.24). The Andantino contains portions of the 1987Sonata No.2 for Violin and Piano (see No.33) andthe 1990 Concerto for Orchestra (see No.60) TheAllegro con spirito incorporates the entire 1961Rondino for Nine Instruments (see No.14)transcribed for violin and marimba.

Dedicated to Jacques and Michael Israelievitch.

[32] Sonata No.1 for Violin & Piano

Toronto, 1946: three mvts. (15’)

Moderato (6’05”)Andante (3’20”)Rondo allegro (5’35”)

Premiered April 17, 1947, Harbord Collegiate,Toronto. Violin, Murray Adaskin and piano, LouisCrerar.

Recorded: ACM 23, Vol. 2, and TAC, Vol. 4

Composed while studying with John Weinzweig inToronto. The historic premiere, in the Auditorium ofHarbord Collegiate Institute, represented the firstconcert of contemporary all-Canadian music andincluded works by John Weinzweig, BarbaraPentland, Harry Somers and Murray Adaskin.

The work was sponsored by the OntarioDepartment of Education at the instigation of Major Brian S. McCool with the goal of introducingstudents to Canadian composers and performers.

36

(Frances James was one of the artists at thisconcert.) It met with considerable interest from thepress, and was reviewed by at least five of theleading local newspapers.

Dedicated to pianist Louis Crerar (d.1981) whoseassociation with the Adaskins spanned threedecades throughout the 1930s, ‘40s and ‘50s.Crerar was an original member of the Banff SpringsHotel Trio and later the Toronto Trio at the RoyalYork Hotel, both of which were lead by Adaskin asviolinist. When Adaskin moved to Saskatoon in1952, Crerar assumed leadership of the TorontoTrio. He also functioned as Frances James’accompanist in concerts and on radio.

[33] Sonata No.2 for Violin & Piano


Allegro moderato

Premiered February 26, 1988, University of Victoria.Violin, Paul Kling and piano, Robin Wood.


Adaskin composed this work forty-one yearsfollowing the composition of his first violin sonata.It was written for his friend and colleague PaulKling on the occasion of “The Adaskin Years: ACelebration of Canada’s Arts”. This extendedfestival was sponsored by and held at held the

Murray Adaskin and Louis Crerar in performance.

University of Victoria February 12 – March 25, 1988.

The piece is in ABA form, with a double cadenza inthe B section. The piano is heard in the mood of apuckish dance, and is immediately followed by atechnically brilliant passage exploiting the violin’sidiomatic features.

Dedicated to Paul King, “a superb artist and dearfriend”, violinist, pedagogue, and at the time, Dir-ector of the School of Music, University of Victoria.

[34] T’Filat Shalom – A Prayer for Peace for Violin & Piano

Victoria, 1974: one mvt. (6’45)

Adagio – poco piu mosso – martelé – a tempo

Commissioned by the Zionist Organization of Canada to commemorate the 27th anniversary of the state of Israel.

Premiered February 27, 1975, Jerusalem, on theoccasion of the 41st national convention of theZionist Organization of Canada. Violin, Jeffrey Krolik,piano, Sarah Rabinowitz (concert pianist from Haifa).

This composition is based on an original Hebrew song of prayer (see Nos.72 and 86).

Dedicated to fifteen-year-old Jeffrey Krolik, Adaskin’sviolin student in Saskatoon. When Adaskin retiredfrom the University of Saskatchewan to relocate toVictoria in 1973, Krolik followed his teacher in orderto continue his violin studies and to receive coaching on T’Filat Shalom in preparation for its premiere.

[35] Two Portraits (violin & piano)

Canoe Lake, Algonquin Park and Victoria, 1973: two mvts. (13’)

Allegro moderato ma con brio (6’)Allegretto (7’)

Commissioned by CBC Toronto for Lorand Fenyves.

Premiered November 19, 1973, CBC radio.Violin,Lorand Fenyves, piano, Patricia Parr.

Recorded: ACM 23, Vol.4

Dedicated to Lorand Fenyves, distinguished Toronto-based violinist, and one-time concertmaster of theOrchestre de la Suisse Romande.

37

36] Capriccio (piano & orchestra)

Morges, Switzerland, 1961: one mvt. (19’)

Lento – allegro – meno mosso – allegro – andantesemplice – tempo primo – allegro

Instruments: solo piano – 3.2.2.2 – 4.3.3.1 – timp.,perc. – strings

Written at the request of noted British pianist,pedagogue, and adjudicator Kendall Taylor.

Premiered January 20, 1963 on the CBC nationalnetwork, by the CBC Symphony Orchestra.Conductor, John Avison, piano, Kendall Taylor.

Composed during Adaskin’s sabbatical leave fromthe University of Saskatchewan in the Swiss townof Morges.

As with several of Adaskin’s works, the Capriccioderives much of its thematic material from the richlore of Canadian folk songs. It is based on theFrench-Canadian song “Le Petit Rocher” – thelament of a dying trapper – and is a wistful tunewhich hovers mostly around the first three notes ofthe scale. The orchestral introduction of theCapriccio announces the theme of the folk song,harmonized in the composer’s original style. Thework has alternating sections of scherzo-like

IV CONCERTI FOR SOLO INSTRUMENTSAND ORCHESTRA

character in which the orchestra and the pianointerchange phrases, and a slow middle sectionwhich returns to the theme of the folk song.

The piano writing, according to Kendall Taylor, is“clean textured and effective. Many passages arequite difficult…but with some exception…all thedifficulties can be mastered with practice.” (August8, 1962)

In a letter to Toronto pianist Sheila Henig, who waslearning the work for a performance with the CBCSymphony Orchestra, Adaskin described his use ofthe term “capriccio” for this composition, as a piecein which the composer follows the dictate of fancywhich does not fall into one of the conventionalforms. “Although I hesitate to use the term’Rhapsody’, I do, however, see a relationshipbetween my Capriccio and a rhapsody.” (April 12,1967)

Dedicated to Kendall Taylor.

[37] Concerto for Bassoon & Orchestra

Morges, Switzerland, 1960: three mvts. (14’55”)

Allegro moderato (6’20”)Andante semplice (5’05”)Allegro giusto (3’)

Instruments: solo bassoon, 3.2.2.0 – 2.2.2.0 – timp.– strings

Composed at the request of George Zukerman,noted Canadian bassoonist, and Executive Directorof the Overture Concert Association.

Premiered February 5, 1961 by the VancouverSymphony Orchestra. Conductor, Irwin Hoffman,bassoon, George Zukerman.

Recorded: ACM 23, Vol.4, and CanadianComposers Portraits, Murray Adaskin, 2002, CD 2

The first of two large works composed in Morges,Adaskin considered the concerto one of his majorcompositions to that time. This piece was writtenduring a year’s sabbatical leave from the University

38

of Saskatchewan. The composition was completedon Christmas day of that year.

It opens with a theme stated in the solobassoon with very sparse accompaniment. Thistheme is very ingeniously woven into manyvariations. The cadenza exploits variousthematic material and ends as the piccolocomes in with a counter melody using the firsttheme. Instruments are added, one at a time,until the thematic material of the first part isbrought in toward the end of the movement.

The second movement, the Andante, is verylyrical and beautiful in style, uncomplicatedand easy flowing. There occur abrupt changesin mood and tempo in the middle section, andan interplay, mainly between the windinstruments, but from time to time includingthe strings. This movement ends quite simply,with tranquil string accompaniment in thehigher register.

The final movement serves as the greatestpoint of departure from the Andante, as itsflashy and colourful character comprises twoshort cadenzas, interweaving with brilliantorchestral flashes, finally climaxing in apowerful closing section. (H. & E. Schaefer,VSO Programme Notes, Nov. 9, 1975)

Zukerman and Adaskin remained in contact overfive decades, during which time the artist continuedperforming the concerto on his international tours.On January 2, 1982, Zukerman wrote the composerabout his performance in Brisbane:

The audience was warm and responsive. Theorchestra enjoyed the work as much as I did,and it would havemade you happyto hear it playedwith such fondnessall around. The[concerto] is stillthe major 20th-century work forthe instrument asfar as I amconcerned.

Dedicated to GeorgeZukerman.

[38] Concerto No.1 for Viola &Orchestra


Allegro moderato e con brio Andante (Canzona)Allegretto

Instruments: solo viola – 3.2.2.2 – 4.2.3.1 – timp.,perc. – strings

Written at the request of world-renowned violist,Rivka Golani.

Premiered August 8, 1995, at the VictoriaInternational Festival, University Centre, University of Victoria, with the Victoria Symphony Orchestra.Conductor, Glen Fast, viola, Rivka Golani.

The following words, written by Ann Elliott-Goldschmid of the LSQ, echo the sentiment expressed by many in the audience:

I want to tell you what a terrific concerto you wrote. I have not heard such beautifulorchestration, and such gorgeous heart-tuggingharmonies in anything but Shostakovich. YourRussian background shows through despite yourstrong Canadian feelings.

Dedicated to Rivka Golani, champion of bothtraditional and contemporary music.

[39] Concerto No.2 for Viola &Orchestra


Allegro moderato Andante Allegro

Instruments: solo viola, 2.2.2.2 – 2.2.1.0 – perc. –strings

After playing the viola concerto, Golani inquired as to whether the composer had written an earlier work for viola and orchestra. As the Concerto No.1for Viola and Orchestra was his only suchcomposition Adaskin proceeded to re-work hisConcerto for Violin and Orchestra (see No.40),written forty years earlier into the Concerto No.2 for Viola and Orchestra.

To date, this concerto in its version for viola, has not been performed.

George Zukerman

39

[40] Concerto for Violin & Orchestra

Canoe Lake, Algonquin Park, 1956: three mvts.(18’)

Allegro moderato Andante Allegro

Instruments: solo violin – 2.2.3.2 – 2.2.1.0 – perc. –strings

Premiered April 30, 1956 in Toronto by the CBCSymphony Orchestra, in celebration of thecomposer’s 50th birthday. Conducted by thecomposer, violin, Roman Totenberg.

This work is defined by its three contrastingmovements, with the middle movement containing

the more elaborate cadenza. The general style canbe described as Neo-Classic in character, projectinga good-humoured, optimistic mood. Because of thecomposer’s special preference for the Andantemovement, and at the request of RomanTotenberg, Adaskin later re-scored the compositionfor flute, Bb clarinet (doubling on bass clarinet),string quartet & bass, leaving the solo violin partintact (see Andante, No.3). According to AudreyJohnson, music critic for the Victoria TimesColonist, on its 1982 performance with the VSOthe concerto was indicative of Adaskin’s adroitnessand intense musicality in dealing with the variousinstruments of the orchestra. (January 26, 1982)

Dedicated to eminent American violinist and closefriend of the composer, Roman Totenberg.

The composer (1950s) as conductor.

40

Above: The composer (1949) as student with Darius Milhaud. Below: The composer (1990s) in the process of re-scoring.

41

Between 1956 and 1998, Murray Adaskincomposed a series of nine divertimenti, all, with theexception of No.8, featuring various combinationsof solo instruments.

[41] Divertimento No.1 (two violins &piano)

Canoe Lake, Algonquin Park, 1956: one mvt. (11’)

Allegro moderato

Commissioned by Harry Adaskin. Written incelebration of Harry and Frances Marr Adaskins’ ten years of concert-giving at the University ofBritish Columbia, Vancouver, B.C.

Premiered November 20, 1956 at the VancouverArt Gallery. Violins, Harry and Murray Adaskin,piano, Frances Marr Adaskin.

The work is based on the first thematic motif ofPleyel’s Duet Opus 48 in D Major, which wastaught to Murray by his brother, Harry, his firstviolin instructor. This experience prompted the useof the Pleyel motif as a tribute to Harry. It was ameaningful occasion in the development of thecomposer’s life as a chamber musician to be playing

V DIVERTIMENTI

Harry and Frances Marr Adaskin

first violin, while his teacher and brother playedsecond violin.

Dedicated to Harry and Frances Marr Adaskin.Harry Adaskin was a member of the Hart HouseString Quartet (1923–1938), the first formallyorganised quartet in Canada, under the patronageof Vincent Massey. Harry Adaskin was also the firsthead of the Department of Music at the Universityof British Columbia. Frances Marr, in her own right,was active on the Canadian scene as a teacher,chamber musician and accompanist.

[42] Divertimento No.2 (violin & harp)

Canoe Lake, Algonquin Park, 1964: one mvt.(4’45”)

Allegretto – andante – tempo giusto

Premiered January 17, 1965 in Toronto, by thefather-and-daughter team of Hyman and EricaGoodman. Hyman Goodman was at that timeconcertmaster of the TSO, and his daughter was anextremely promising seventeen-year-old harpist.

Dedicated to close family friends, Hyman and EricaGoodman.

42

[43] Divertimento No.3 (violin, F horn &bassoon)

Saskatoon, 1965: three mvts. (15’)

Adagio maestoso (3’50”)Un poco allegretto e grazioso (3’20”)Moderato (4’25”)

Commissioned by the Regina Campus of theUniversity of Saskatchewan (now the University ofRegina) through a grant from the Canada Council.

Premiered May 20, 1965 in Regina tocommemorate the first convocation held at thatinstitution. Violin, Howard Leyton-Brown, horn,Mel Carey, and bassoon, Thomas Schudel.


This work has proven to be popular with manydistinguished instrumentalists, and has hadnumerous performances on radio as well as atpublic concerts. In Adaskin’s hands this ratherunusual combination of instruments achieves asurprisingly wide range of expression.

Dedicated to George Zukerman. (For more onZukerman, see No.37)

[44] Divertimento No.4 (trumpet &orchestra)


Adagio-adagietto-adagio-allegro-scherzando-adagietto-allegro-adagio

Instruments: solo trumpet, 2.2.2.2 – 2.2.0.0. –timp., perc. – strings

Commissioned by the Saskatoon SymphonyOrchestra through the Cosmopolitan Club.

Premiered August 24, 1971 by the Saskatoon

Symphony Orchestra, conducted by the composer,trumpet, Lawrence House, colleague from theUniversity of Saskatchewan Department of Music.

In his files on this work,Adaskin leaves us one of his rare commentariesrelating to one of hiscompositions. He statesthat the beginning andending motif of thedivertimento isreminiscent of theWhite-throated sparrow…”that spunky littlesparrow whose song is interpreted by NewEnglanders as “old Sam Peabody, Peabody,Peabody”. However, according to Adaskin, inAlgonquin Park – the genesis of this composition –the song is interpreted as “I love Canada, Canada,Canada”.

Dedicated to Lawrence House.

[45] Divertimento No.5 (two guitars &chamber orchestra)


Allegretto – allegro – tempo primo – presto

Instruments: 2 guitars – 1.1.1.1 – 1.1.1.0 – perc. –strings

Commissioned by Don Wilson, one of Adaskin’sformer composition students, and Peter McAllisterthrough a grant from the Canada Council.

Premiered December 12, 1981 by the SaskatoonSymphony Orchestra. Conductor, Glen Fast, guitars,Don Wilson and Peter McAllister.

This divertimento abounds in jazz-inspired tonalharmonies and neo-classic rhythms. The scoring hasbeen described as idiomatic and effective, andwritten in a style which is completely accessible to ageneral audience.

A radio review provides further information:“Adaskin demonstrates a well-developed ability toaccess the tonal and expressive capabilities of theparticular instruments…He manages to introduce afair degree of virtuosity for the two guitarists, andat the same time, maintains a rather quiet level ofdeclamation. The writing for string choir was

White-throatedSparrow.

43

particularly good here”. (John Whelan, CBC ReginaRadio Review, Dec. 13, 1981)

Dedicated to McGill University artists Duo desConcertants, André Roy and Marc Deschênes, who performed this work under composer BruceMather’s direction at a 1993 concert of the“Ensemble de Musique Contemporaine de McGill”.The dedication represented Adaskin’s sentimentsabout the superior quality of the McGillperformance.

[46] Divertimento No.6 (solo percussion &orchestra)


Allegro con brio – andante – allegro con brio –cadenza – allegro con brio

Instruments: solo percussion – 2.2.2.2 – 2.2.1.1 –strings

Written especially for Vancouver-based percussion virtuoso Salvador Ferreras, at that time facultymember at the School of Music, University ofVictoria.

Premiered February 28, 1985 at the UniversityCentre of the University of Victoria as part of theVictoria Symphony Orchestra’s “Discovery Series”.Conductor, George Corwin, percussion, SalvadorFerreras.

Recorded: Canadian Composers Portraits, MurrayAdaskin, 2002, CD 2

This work, with its focus on the xylophone, allowsthe soloist the opportunity to use a variety ofinstruments, making this an interesting piece, bothin its musical accessibility, and its visual impact. The athletic demands on the performer areconsiderable, as the piece requires skillful movesfrom one instrument to another.

The composer records a personally upsettingexperience with the genesis of this composition:

Salvador applied to the Canada Council for acommission-grant, which would have takencare of the copying of parts, but just beforeChristmas I heard the news that the grant wasturned down by the jury (so-called!). I phonedthe head of the music section of the Canada

Council, who had earlier asked me specificallyto call him if I required any assistance. When Idid so – asking for assistance with the copyingof parts – I received ‘the royal brush-off’which upset me terribly. I then called theHead at the Toronto office of the CanadianMusic Centre for help, but received a similarresult. He subsequently, phoned me to saythat he had found $500.00 which was to besent to me for the copying! I told him that Ididn’t want the money – but the assistance ofa professional to copy the parts for me. I didgraciously thank him with a polite refusal –which from the sounds of it, seemed a greatrelief to him!

As a result the parts were finally written by hand bythe composer. Adaskin, who was by now in theeighth decade of his life, was deeply hurt by theCanada Council’s rejection.

Dedicated to George Corwin, conductor and facultymember at the University of Victoria School ofMusic.

Autograph, listing the percussion instruments.

44

[47] Divertimento No.7 (two celli & piano)


Allegro moderato

Commissioned by Ian Hampton on behalf of theLangley Community Music School, Langley, BritishColumbia.

Premiered November 9, 1985 at the LangleyCommunity Music School. Celli, Ian Hampton andSusan Round, piano, Arlie Thompson. Performed onthe occasion the School’s third annual CanadianMusic Week, when nine other works by Adaskinwere showcased. The event was part of the MusicSchool’s education program dedicated to featuringand performing the works of Canadiancompositions.


Dedicated to Pamela Highbaugh Aloni, cellist withthe LSQ.

Divertimento No.8 (concert band)

See No.1

[48] Divertimento No.9 (violin, viola &cello)


Moderato

Arranged from Serenade Concertante (see No.69).

Premiered April 10, 1999, by the The AdaskinString Trio (violin, Emlyn Ngai, viola, Steve Larson,and cello, Mark Fraser) in Darke Hall, ReginaConservatory of Music (the old campus of theUniversity of Regina) with the composer present.

Two years prior to this performance, Adaskin hadreceived a telephone call from a member of a stringtrio at McGill University. The three planned tocontinue their studies with the Emerson StringQuartet in the United States during the ensuingtwo years, and were seeking a name for theirensemble that was truly Canadian. They askedpermission to use the name “Adaskin String Trio”,honouring John, Harry, and Murray Adaskin fortheir contribution to the arts in Canada. As a highschool student playing in the Regina Orchestra,Larson had performed in the Concerto for Bassoonand Orchestra, and recalled that he had liked thepiece instantly. With that experience, and out ofhigh regard for the Adaskins, the name “TheAdaskin Trio” seemed right for them.

The pleasure Murray Adaskinfelt was best reflected in hisresponse, “my father wouldhave been so proud”. In turn,he wanted to show hisappreciation to the Trio, thuswriting a piece and dedicating it to them.

The composer and the Adaskin StringTrio. Left to right: Steve Larson, MarkFraser and Emlyn Ngai.

45

VI FANFARES

[49] Brass Fanfare for a Wedding


Maestoso

Instruments: 2 trumpets, French horn, trombone,tuba, tenor drum

Premiered July 24, 1981 at the home of Blair andMary Nelson of Saskatoon, on the occasion of thewedding of their daughter, Victoria. Trumpets,Lawrence House and Miles Newman, horn, MelCarey, tuba, Mike McCawley, trombone, StewartSmith, and percussion, Darrell Bueckert – all fromthe Music Department at the University ofSaskatchewan.

The composition was Adaskin’s gift to the daughterof his close Saskatoon friends, the Nelsons.

[50] Fanfare


Maestoso

Instruments: 2 trumpets in Bb, 2 horns in F, 1 tenortrombone, 1 tuba, 3 tenor drums.

Premiered March 4, 1988, University CentreAuditorium, the University of Victoria, as part ofthe celebration, “The Adaskin Years.” Performed bythe students and faculty of the School of Music,under the direction of Louis Ranger, trumpet.

This work was requested by Dr. Howard Petch,President of the University, and was to be used inhonouring distinguished visitors to the campus. It isdesignated as the University’s official fanfare.

The Fanfare has a built-in spatial element. There arethree percussion players who are placed in differentlocations. The score specifies that the firstpercussion should be on-stage with the brassplayers, and the second and third players should bein the hall on opposite sides.

The work is based mainly on a rhythmic motif

Murray and Frances Adaskin withUniversity of Victoria President HowardPetch upon the conferral of honorarydoctorates, 1984. (See colour plate IX.)

46

recalled by the composer who first heard it playedby the local band of a tiny village seventy milessouth of Paris where he was studying in 1929. It isthe composer’s gift the University of Victoria inrecognition of its distinguished faculty.

Dedicated to Dr. Howard and Mrs. Linda Petch.

[51] Fanfare for Brass Quintet


Commissioned by CBC Winnipeg producer, TomTaylor, as a theme for a series of weekly CBC radiobroadcasts called “Festival Celebrations.”

Unfortunately this score has been lost, and is nolonger available.

[52] Fanfare for Orchestra

Saskatoon, 1970: one mvt. (4’)

Allegro moderato e nobile – sostenuto – a tempo

2.2.2.2 – 4.3.3.1 – timp., perc. strings

Commissioned by Saskatchewan Centre of the Arts,Regina for the opening of its Auditorium.

Premiered August 20, 1970, Regina SymphonyOrchestra. Conductor, Howard Leyton-Brown.


The Fanfare for Orchestra incorporates a Hebrewtune known to all four Adaskin brothers throughtheir grandfather, who was a devout Orthodox Jewand cantor. The tune, with its simple grandeur,dignity, and magic has haunted Adaskin sincechildhood. Thus the Fanfare is written to convey amood of a joyous hymn of praise and thanksgiving.The composer also indicates that it is to “be played

in the style of an overture.”

Displaying typical Adaskin flair, thefestive opening section features arhythmically well-defined sectionhighlighting the timpani, brass andstrings in alternation with slower,thoughtful, hymn-like episodes.

Dedicated to Victor Feldbrill,conductor of the WinnipegSymphony Orchestra until 1968,dear friend, and one of the mostactive proponents of Canadianmusic.

Left to right: Harry, Leslie, Murray and John. A rare photo of the four brothers together.

47

Above: The M/V Askov. Below: The composer with thePedersens.

[53] M/V Askov for Solo Trumpet


Allegro – presto – maestoso – slow waltz – presto

Premiered July 14, 1990, on the occasion of thechristening of Harlan and Anne Pedersen’s boatM/V Askov, Orcas Island, Washington, with thecomposer present.

Trumpet solo, John Selkirk, principal trumpet,Victoria Symphony Orchestra.

The work incorporates six Danish folk melodies,each based on a nautical text.

Dedicated to Harlan and Anne Pedersen, childhoodfriends of the Larsen family, and dear friends of thecomposer.

[54] Octet for Strings – Fanfare forEight Celebrities (two string quartets)


Maestoso – larghetto – maestoso

Composed especially for the Lafayette andPenderecki String Quartets.

Premiered July 2, 1993, PTY Recital Hall, School ofMusic, University of Victoria, as part of the inau-gural season of the Quartet Fest West. LSQ:Violins, Anne Elliott-Goldschmid and Sharon Stanis,viola, Joanna Hood, and cello Pamela HighbaughAloni; and the Penderecki Quartet: violins, PiotrBuczek, Jerzy Kaplanek, viola, Yariv Aloni, and cello,Paul Pulford, Quartet-in-Residence at WilfridLaurier University.


Started by the LSQ, the resident quartet at theUniversity of Victoria, “Quartet Fest West” was atthat time a two-week music workshop. Some of thebest string students in North America came to study

48

the art of and perform in string quartets.

Sharon Stanis describes the octet as

having a slower Larghetto section, whichfeatures the players conversationally in pairsfrom each quartet. The majestic openingchords proclaim to all that this is written inthe style of a true brass fanfare…The work isin modified ternary form, opening withantiphonal motives between the upper andlower strings. A flourish of arpeggios givesway to the lyrical middle section.

Dedicated to the Lafayette and Penderecki StringQuartets.

49

[55] Grant, Warden of the Plains

Canoe Lake, Algonquin Park, 1966: an opera in oneact (58’)

Libretto by Winnipeg poet, Mary Elizabeth Bayer.Based on the book Cuthbert Grant, Warden of thePlains (McLelland & Stewart, 1963), by MargaretArnett McLeod and William Lewis Morton.

2.1.1.1 – 1.1.1.0 – timp., perc., piano – strings

Commissioned by CBC Winnipeg for Canada’s 1967Centennial celebrations.

Premiered July 18, 1967 in Winnipeg with the CBCWinnipeg Orchestra. Conductor, Victor Feldbrill,producer, Tom Taylor (Senior Music Producer,Prairies), and chorusmaster, Filmer Hubble. Cast:Cuthbert Grant – Peter van Ginkle (bass-baritone),Maria McGillis – Nona Mari (soprano), Narrator –Evelyn Anderson, Alexander MacDonnell – PaulFredette (bass), John – Ed Evanko (tenor), John Also– Peter Koslowsky (tenor), Robert – Robert Pubblo(baritone), Pierre Falcon –Wilmer Neufeld(baritone), Governor Simpson – George Waite(baritone), and sixteen-voice chorus. Thisproduction included an all Winnipeg cast.

Grant, Warden of the Plains was one in a series ofradio operas the CBC had commissioned forCanada’s Centennial as part of a plan to produce a60-minute opera from each of its major centres.The text is based on incidents from the life ofCuthbert Grant (c.1793-1854), a controversialfigure in the early days of the Red River Settlement.

Grant was born in Fort Tremblant, a NorthwestCompany trading post at Aspen Creek on theUpper Assiniboine in 1793, the son a fur traderfrom Strathspey, Inverness, Scotland, and a Creewoman. After being orphaned at six, youngCuthbert stayed on in Canada for two years, untilfur trade tycoon William McGillivray of Montrealsent him to the Grants in Scotland to be educated,later bringing him back to Canada to join theNorthwest Company. When he was a poised, vividyoung bon vivant of 19, Grant returned to theWest, where his own people gave him a warmwelcome, and he was much admired as a daring

VI I OPERA

trader, a magnificent hunter, and a rake withextraordinary Métis charm.

Grant was a man of sharp contrasts. Reared as aPresbyterian, he later became a Roman Catholic. Hebegan his business life with intense loyalty to theNorth West Company, then switched his allegianceto its arch rival, the Hudson’s Bay Company. In hisyouth he was a footloose rascal despised andharassed by the stolid settlers. But as he matured,he became a most stable seigneur of his own feudalestate at Grantown – now St. François Xavier – arespected Councillor of Assiniboia, a keeper ofpeace and guardian of the struggling Red RiverSettlement.

Cuthbert Grant received his designation “Wardenof the Plains” from Governor-in-Chief ofRupertsland, George Simpson, who recognized theyoung man’s ability and created the position ofguardian of the Red River settlement in 1828.Simpson assigned large tracts of land to Grant inorder to set up protection for the settlement againstmarauding Sioux. In this sense, Grant was verymuch the father, protector and provider for the Red River settlement at the forks of the Red and Assiniboine Rivers. Historically, he wasovershadowed by Louis Riel, and has not receivedhis due credit as leader of the Métis.

According to Mary Elizabeth Bayer, the opera

…deals with a time in Grant’s life when he ismaking a decision about his future. He mustdecide whether he will give up his physicalfreedom and attach himself to land andresponsibility, whether he will settle downinto married respectability, or what he will doas a mature citizen of a growing nation. As aMétis, Grant had many more obstacles toovercome and much more to contribute. Hefaces the need for decision, and makes up hismind. The opera is a tribute to his courageand vision – an accolade to a Canadian whomade an enormous contribution to thedevelopment and growth of western Canada.(from CBC Information Service, July 5, 1967)

Cuthbert Grant was a fascinating character. Thisportrait is a love story with a most unusual twist to

50

the plot. John Roberts, at the time a CBC RadioNetwork Supervisor, Serious Music Department,described the score as “scintillating”, and thelibretto as “very colourful, employing the dialect ofthe time.”

This radio premiere remains the opera’s soleperformance. The following letter, from the Directorof the Canadian Opera Company Herman Geiger-Torel, is indicative of the quality of the opera.

Dedicated to the memory of Banff painter PeterWhyte (1905-1966). Peter and his wife CatharineRobb Whyte (1906-1979), also a painter, sharedtheir love of the mountains, music, art, travel, and aclose, caring friendship with the Adaskins.

51

[56] Adagio for Cello & Orchestra


Adagio

Premiered August 2, 1976, by the CBC VancouverOrchestra. Conductor, John Avison, cello, TalmonHerz.

Adaskin’s transcription of his Adagio for Cello andPiano (see No.23).

[57] Algonquin Symphony

Canoe Lake, 1957-58: three mvts. (24’)

Allegretto – allegro moderato (9’30”)Lento sostenuto (6’15”)Largo – allegro – largo – allegro (7’15”)

3.3.3.2 – 4.3.3.1 – timp., perc., harp, strings

Commissioned by CBC Toronto through Director ofMusic, Geoffrey Waddington.

Premiered May 26, 1959, by the CBC SymphonyOrchestra. Conductor, Geoffrey Waddington.

Published by Counterpoint Musical Services. (Notavailable through the CMC, see Appendix B)

The Algonquin Symphony is the expression of thecomposer’s deep affection for the beauty of naturesurrounding Canoe Lake in Algonquin Park as wellas being an expression of friendship and respecttoward Taylor Statten, Director of Camp Ahmek, asummer camp for boys. A Wesleyan Methodist,Taylor Statten, and his wife, Ethel, founder of campWapomeo for girls, taught their campers aboutIndian lore. This earned the Stattens the nicknames“Chief” and “Tonakila” respectively. Over the yearsand the many summers spent at Canoe Lake, theAdaskins forged a lasting friendship with theStattens.

The composer describes the genesis of thesymphony:

In September 1956, before leaving CanoeLake for our home in Saskatoon, I spent anafternoon at Little Wap [Camp Wapomeo]

VII I ORCHESTRAL WORKS

discussing with the Chief a plan to write amusical work based on the background of TomThomson, the Canadian painter, who spent hishappiest years in Algonquin Park. Besides askingthe Chief what he thought of the idea, I alsoasked him whether he could supply me withcopies of “Hiawatha’s Farewell” and the“Omaha Tribal Prayer”, which I had heard himuse on several occasions at Council Ring. Thesetunes seemed eminently suitable to me as basicmaterial for a work suggesting the atmosphereand spiritual climate of Algonquin Park, andCanoe Lake particularly.

The Chief, because of his instinctive and abidinginterest in music, and because he was always agreat source of encouragement to anyoneseeking his advice, immediately responded withenthusiasm, and offered many interesting anduseful suggestions. He urged me to go aheadwith my plans, and promised to investigate thepossibilities of procuring copies of the twoIndian tunes I enquired about.

Soon after our arrival in Saskatoon, I received aletter from Jack Eastaught and another fromFrank Churchley. Both of them containedmanuscript copies of the tunes I wanted. JackEastaught, I believe, wrote out the tunes as heremembered the Chief singing them, and FrankChurchley sent me copies he made at the libraryin New York City, where he was at the timeworking towards his PhD in Music. Churchleywas Director of Music at Camp Ahmek for quitea few years. [He was to complete his doctoratein Music Education at Columbia University, andassume a teaching post at the University ofVictoria.] The manuscripts, contained preciselywhat I needed. The reason for this detailedaccount is because it describes just one of themany wonderful qualities that the Chief posses-sed: any promise given, was as good as done.

Shortly after the letters and manuscripts reachedme, we received the sad news of TaylorStatten’s death, and I knew then that my workwas to be written as a tribute to his memory.That is, to a distinguished Canadian who hadspent his happiest and most fruitful years inAlgonquin Park.

52

In spanning the shape and material of myAlgonquin Symphony, which was to bewritten in three movements, I decided to usethe first movement as a canvas on which Iwould sketch my own personal impressions ofhis spiritual characteristics. And if music canbe described as abstract, in the sense that it isabstracted from nothing concrete, I would usethat word to describe the first movement.

The second movement was to be devoted tothe use of “Hiawatha’s Farewell” – the motifof the characteristic and lonely cry of theloon, with a passing reference to the evening“Hymn of Thanks”, which I had written at the Chief’s request some years before. Thismovement turned out to be in the manner ofa requiem, and in the orchestral score, thebass clarinet introduces “Hiawatha’sFarewell”. I had inscribed a text above it,which reads like this: “Mourn Ye Not for MyDeparture, Mourn Ye Not, I go upon a JourneyForever.” No composer could wish for moreinspiring material with which to work.

The final movement was to be based entirelyon the material of the “Omaha Tribal Prayer”which includes the words “Wakonda, a NeedyOne Stands Before Thee; I Who Sing, AmHe.” There were also to be passing referencesto the sounds of the North, that is, an orches-tra of frogs one hears every evening back ofLittle Wap, the sound of the woodpeckers, theCanada bird, and of course, the loon. Becauseof my need for contrast, I finally decided tochange the rhythm and mood of the “OmahaTribal Prayer”, to a slightly jazzed-up version.

The AlgonquinSymphony is a majorCanadian symphonicwork of the 20thcentury.

Dedicated to thememory of TaylorStatten (1882-1956).

Painting of TaylorStatten by GordonWetmore hanging inthe Camp Ahmekdining hall.

[58] Ballet Symphony

Carpinteria, California, 1950-51: six mvts. (26’50”)

March Allegro Pas de Deux Fugue AdagioFinale (Rondo Allegro)

3.3.3.3. – 4.3.3.1 – timp., perc., harp, piano –strings

Premiered March 26, 1952, Massey Hall, Toronto atthe 2nd annual concert of the Canadian League ofComposers, with the Toronto Symphony Orchestra.Conductor, Geoffrey Waddington.


Carpinteria, housing theMusic Academy of theWest, marks thelocation of Adaskin’ssummer compositionstudies with DariusMilhaud. At Milhaud’ssuggestion, Adaskin addedfive movements to apreviously written MarchNo.1 for Orchestra (seeNo.63) in order to create this ballet. Milhaud’sadvice was based on practical considerations thatthe work had a better chance of being performedas a ballet than as a symphony. Adaskin’s attemptto have it choreographed for and performed by theWinnipeg Ballet, however, was unsuccessful. Oneof the longest of the composer’s works, the BalletSymphony culminates in a Finale consisting of areview and development of themes from previoussections.

Since there were no orchestral resources at hand,Milhaud suggested that two movements – Pas DeDeux and Fugue – be re-scored for two pianos inorder to be performed during this period of study(see No.29).

The Ballet Symphony was one of the worksselected to represent Canada at the 1952 Olympicsin Helsinki, Finland. Music constituted part of theOlympic games, and Adaskin won a certificate ofrecognition for this composition.

Dedicated to the composer’s brother, CBC radioproducer and cellist, John Adaskin (1908-1964).

Adaskin in a lessonwith Darius Milhaud.

53

[59] Celebration Overture


Maestoso

3.3.3.2 – 4.3.3.1 – timp., perc., harp - strings

Commissioned by CBC Toronto through Director of Music, Geoffrey Waddington, for a specialbroadcast to celebrate Coronation Week.

Premiered June 2, 1953, Toronto, CBC SymphonyOrchestra. Conductor, Geoffrey Waddington.

Originally composed as Coronation Overture,Adaskin changed its title to Celebration Overturein 1993.

As part of the plans to celebrate the coronation ofQueen Elizabeth II in June 1953, the CBC commis-sioned works from a number of Canadian com-posers to commemorate the occasion. Whilecomposers were given total freedom to carry outtheir commission, it was hoped that their inspirationwould come from Canadian life and backgroundwhile honouring the important historic occasion.

Adaskin’s composition was inspired by newspaperphotographs of a visit to Ottawa in 1951 by ayoung Princess Elizabeth, as yet unencumbered bythe sceptre of royal responsibilities, square dancingwith Prince Philip in Ottawa’s Rideau Hall. Adaskin’s

Celebration Overture, in the style of the squaredance, was a tribute to the humanness of thatsituation as well as an homage to the new queen.Because of the dignity of the occasion, the workwas written in fugal form, ending with a melodicportion of “God Save the Queen” (”Long to reignover us....”)

Three decades later, Her Majesty The Queen andHis Royal Highness the Duke of Edinburgh visitedVictoria. In honour of that visit the University ofVictoria Orchestra, with conductor George Corwin,performed the Celebration Overture in the Royals’presence. This was Her Majesty’s first hearing of it.Following the concert, Her Majesty’s comment tothe composer came in the form of a questionasking if it is a difficult piece to play. Respondingwith, “Yes, it can be”, the Queen’s response was,“Isn’t that nice.”

[60] Concerto for Orchestra


Allegro con spirito (4’55”)Andante: In Memoriam – Frances James (14’45”)Finale: Allegro con brio (10’40”)

3.2.2.2. – 4.2.3.1 – perc., timp.- strings

Commissioned by the VictoriaSymphony Orchestra through theCanada Council for the celebration ofthe Symphony’s 50th anniversary.

Premiered November 4, 1990, inVictoria’s Royal Theatre by theVictoria Symphony Orchestra.Conductor, Glen Fast, concertmaster,Pablo Diemecke.

For two out of the three movementsof the Concerto for Orchestra,Adaskin revisited the past. TheAllegro con spirito is based on the1961 Rondino for Nine Instruments(see No.14). As this was one of thecomposer’s favourite works, hewelcomed the opportunity to re-writeit for orchestra, and include it as thefirst of a larger three-movementcomposition.

The Adaskins greeting her Majesty the Queen.

54

The Andante is based on In Memoriam – FrancesJames (see No.7) re-scored for orchestra. In thethird movement, Adaskin reconciled his past withthe present through the use of a hauntinglybeautiful Scandinavian melody which he first heard sung by a 90-year-old Danish woman in a“touchingly clear voice.” The use of this melody(“Hils fra mig derhjemme” – “A Sailor’s Greeting”)in the last movement was symbolic to thecomposer’s personal life as, after the death ofFrances James, his wife of 57 years, he metDorothea Larsen, a woman of Danish heritage,whom he subsequently married and with whom he happily shared the last 13 years of his life.

As a unifying feature, Adaskin re-introduces anumber of musical ideas from the previous twomovements which appear in truncated andtransformed versions. A fanfare-like motif ends thework on a triumphant note.

The work is dedicated to Myfanwy Pavelic,distinguished Canadian painter, whose friendshipmeant a great deal to the composer. It was his hopethat “in some small way this music would bringfurther attention to her astonishing career”.

MyfanwyPavelic. “Sketch forPortrait ofMurrayAdaskin”,1979. Pencil on paper, 48 x41 cm.TheAdaskin estate.(See colourplate II.)

Adaskin at 84. Marten Bot, photographer.

[61] Dance Concertante for Orchestra


Andantino – allegro moderato – andantino

3.2.2.2 – 4.3.3.0 – timp., perc. – strings

Commissioned by the Windsor SymphonyOrchestra through a grant from the CanadaCouncil.

Premiered April 1982, by the Windsor SymphonyOrchestra. Conductor, Laszlo Gati.

The composition spotlights the orchestra’s principalwind players: the Essex Winds, core members ofthe WSO’s wind section, performed in the windquintet portions. Dedicated to Laszlo Gati, one-timeconductor of the Victoria Symphony Orchestra.

55

[62] Diversion for Orchestra (AnEntertainment)


Allegro con spirito – lentamente – meno mosso –vivace – tempo primo

2.2.2.2 – 2.2.0.0 – timp., perc. – strings.

Commissioned by Jean-Marie Beaudet, Director ofthe National Arts Centre.

Premiered October 7, 1969 in Ottawa at theinaugural concert of the National Arts CentreOrchestra. Conductor, Mario Bernardi.

Recorded: ACM 23, Vol. 4 and CanadianComposers Portraits, Murray Adaskin, 2002, CD 2

One year prior to Canada’s centennial in 1967,Parliament passed the National Arts Centre Act,establishing a corporation to “operate and maintainthe [National Arts Centre], to develop the perform-ing arts in the National Capital Region, and to assistthe Canada Council in the development of theperforming arts elsewhere in Canada” (EMCp.917). The National Arts Centre Orchestra, createdin 1969 became its resident orchestra, at the timethe only organization in North America to be state-supported. Its goal was to specialize in works ofchamber music proportions from the Baroque,Classical and contemporary repertoires, and topresent these in cross-country tours. Its home wasthe Canadian Arts Centre in Ottawa.

Historicposter byKenDallison,1969. (Seecolour plateXI.)

Mario Bernardi was its first conductor, and Jean-Marie Beaudet was the music director of the ArtsCentre. The performers were selected through aseries of auditions and represented a group ofextremely talented musicians. Adaskin’sDivertimento for Orchestra was the first workcommissioned by the National Arts Centre for thenewly-formed orchestra, and thus occupies animportant position in the cultural history of Canada.In order to feature the talents of this outstandinggroup of performers Adaskin assigned solo passagesto the lead players throughout the composition inrondo form,

…beginning with a flute solo followed by theoboe in a duet with the bassoon, and endingwith two oboes and two bassoons in apreview of the double reeds. This is followedby a solo for the clarinet in the form of a briefcadenza. The C section features the variousfamilies of instruments, with a marked changeof pace (Vivace) in which this time we hearthe various families of the orchestra, alsoproviding the listener with an intimate lookinto the string family. The timpani heralds thefinal return of the A section, in full orchestra,bringing the work to a close. (Eva M.Schaefer)

Divertimento No.4 (trumpet and orchestra)

See No.44

Divertimento No.5 (two solo guitars andorchestra)

See No.45

Divertimento No.6 (solo percussion andorchestra)

See No.46

Fanfare for Orchestra

See No.52

56

[63] March No.1 for Orchestra

Toronto, 1950: one mvt. (3’)

Alla marcia

3.3.3.3 – 4.3.3.1 – timp., perc., harp, piano –strings

Commissioned by CBC Toronto for the“Opportunity Knocks” program.

Premiered June 19, 1950, CBC Radio Orchestra.Conductor, John Adaskin. The programme was anational talent competition sponsored by the CBCand broadcast from Toronto and Montreal from1947 to 1957. It was initiated by John Adaskin forthe purpose of discovering young talent amongCanada’s musicians.

Dedicated to the composer’s brother, CBC radioproducer and cellist, John Adaskin (1908 – 1964).


Sakatoon, 1953: one mvt.(3’)

Allegro


Commissioned by CBC Toronto for the“Opportunity Knocks” program.

Premiered March 2, 1953, CBC Radio Orchestra,Toronto. Conductor, John Adaskin.

Both March No.1 and March No.2 were intendedto function as humorous introductions to the radioprogram “Opportunity Knocks” initiated by thecomposer’s brother John in 1947. The programme,which lasted for ten years, was a national talentshow, many of whose winners eventually becameCanada’s major performing artists. (For names ofsome of the winners, see EMC p.976)

Dedicated to nieces Tamar and Susan, daughters ofJohn and Naomi Adaskin.



Alla marcia – slightly faster – alla marcia – slightlyfaster – a tempo

3.2.2.2 – 4.33.1 – timp., perc.– strings (piccolo canreplace ocarina in Bb if the latter is unavailable)

Commissioned by Paul Freeman.

Premiered March 29, 1981 by the VictoriaSymphony Orchestra.

Conductor, Paul Freeman.

The composer shares his thoughts:

Some years ago I wrote two short pieces forthe CBC’s “Opportunity Knocks” radioorchestra conducted by my late brother John. I called them March No.1 & 2 – ratherChaplinesque in mood, and of course no onecould possibly march to them, which wasintentional.

When Paul Freeman expressed the wish that I compose a March No.3 for the VictoriaSymphony Orchestra’s concert in Duncan,B.C., on March 28th – my 75th birthday and

A contemporary brochure, 1951.

57

The composer as Charlie Chaplin.

the Duncan Musical Society’s 25th anniversary– I immediately began work on it. To add tothis general festive occasion, news reached methat Christoffer Lewis Nohr, an eight-pound,two-ounce baby boy (the first child of verydear friends) arrived into the world withshouts of joy. I decided then and there thatthe Coda would contain a “Happy Birthday”greeting by that magic instrument, the tuba!

Tears came to Adaskin’s eyes when, nineteen yearslater, he received the note below from Christopher:

[66] Nootka Ritual


Maestoso

2.2.2.2 – 2.2.2.0 – timp., perc.– strings

Commissioned by Thomas Petrowitz and theNanaimo Symphony Orchestra through a grant fromthe Canada Council.

Premiered April 7, 1974, Nanaimo SymphonyOrchestra on the occasion of its 25th anniversary.Conductor, Thomas Petrowitz.

Although not based on indigenous melodies, thecomposer deemed it appropriate to the occasion tohonour the memory of the region’s earliest indigen-ous people through the title of the composition.

Dedicated to Thomas Petrowitz.

[67] Qalala and Nilaula of the North


Adagio – allegretto – tempo I – adagio

1.1.1.1 – 1.0.0.0 – 2 perc. – 14 strings (21 playerstotal)

Commissioned for CBC Toronto by Supervisor ofRadio Music, John Peter Lee Roberts, on the occasionof the commemoration of Canada Day, July 1, 1969.

Premiered July 1, 1969, CBC Winnipeg Orchestra aspart of the CBC “Tuesday Night” series. Conductor,Murray Adaskin, producer, Tom Taylor.

The work was inspired by a visit to Rankin Inlet inthe Canadian Arctic which the composer undertookwith his friend, artist Eli Bornstein, in 1965. Adaskinfound this trip memorable and described the Arctic as “stunningly, strikingly beautiful.” He used theopportunity to record songs of some of the Inuit meton the trip, and was particularly moved by songssung by an old couple, Qalala and Nilaula. WhenNilaula sang he spoke of having come as a strangerto Rankin Inlet; of his loneliness for the familiarplaces he left; of how different his new home was,and then closed with the very powerful line “Thetruth of the past is not the truth of the present.”

Adaskin’s trip to the Arctic was prompted by RobertWilliamson, a newly appointed faculty member in

Dedicated to Paul Freeman.

58

the University ofSaskatchewan’sAnthropologyDepartment, who, asa specialist in Inuitlanguages, realizedthat the oraltradition was indanger of being lost.He urged thecomposer to collect,on tape, some of thetraditional songs ofthese Arctic peoples.

In providing program notes for the performance of this composition, Adaskindescribes the work:

The two main tunes, or melodic lines, used inmy piece are from the tapes of Nilaula andQalala, now both dead. The Nilaula tune isheard at the very beginning, and thecontrasting tune heard later – and in factseveral times – is from Qalala. The thirdelement in the composition comes from anancient game which Eskimo women like toplay to amuse themselves, which one mightcall “throat rhythms” – nonsense words whichhave no meaning, just guttural sounds,constantly and obstinately repeated as in anostinato figure. There are many, manyvariations of these rhythms.

In playing this “throat rhythm” game, thewomen stand close together, holding onlightly to each other’s elbows with their nosesvery close together. Then, one of them startsoff – she’s the leader as it were – as sheestablished her rhythm. Another galfollows with her own “throat rhythm”,and by adding these rhythms they build-up between them quite a sense ofcounterpoint which, when they get tired,stops abruptly and everyone bursts outlaughing! Then another woman will havea new idea of a different sound andrhythm, and she will take the lead, as itwere. If they are left alone, or are in themood, they invent amazing contrapuntaldevices.

Dedicated to John, Christina, and Noel Roberts.

An anonymous carving fromRankin Inlet. The Adaskinestate

[68] Saskatchewan Legend


Allegro moderato – poco meno mosso – tranquillo –tempo I


Commissioned by the Golden Jubilee Committee of the University of Saskatchewan for thecelebration of the University’s 50th anniversary.

Premiered September 27, 1959, by the SaskatoonSymphony Orchestra. Conductor, Murray Adaskin.

Published by Counterpoint Musical Services (notavailable through the CMC, see Appendix B.)

The six-week Saskatoon Golden Jubilee Festivalwas motivated by Adaskin, who used theopportunity of the University’s celebrations tofeature contemporary Canadian and internationalmusic as well as selections from the traditionalrepertoire.

The Saskatchewan Legend is based on twofolksongs from the Louis Riel period: “DesjarlaisReel” and the haunting ballad “Riel Song”(supposedly written by the revolutionary Métisleader while in jail) provided by Richard Johnsonfrom his folk-song collection. Throughout the work, the tunes recur in varying instrumentalcombinations, and are incorporated with originalmaterial by the composer. Rhapsodic in form, thisorchestral sketch is, according to the composer, “a purely abstract musical legend.”

Dedicated to the President of the University ofSaskatchewan, Dr. W. P. and Mrs. Thompson.

59

[69] Serenade Concertante

Saskatoon, March 28, 1954: one mvt. (7’25”)

Moderato

2.2.2.2 – 2.1.0.0 – strings

Commissioned by the CBC Vancouver Orchestra atthe request of John Avison, the orchestra’sconductor since 1938.

Premiered April 15, 1954 by the CBC VancouverOrchestra. Conductor, John Avison.


Published by Counterpoint Musical Services. (Notavailable through the CMC.)

The small size of the orchestra (at first known asthe CBC Vancouver Chamber Orchestra) made itideal to sustain a great variety of instrumentaleffects within the chamber music medium (25players originally, increased to 35 in 1952. EMC, p.232). It was the right size for Adaskin who hadbeen studying compositions by Mozart at the time.In his own words:

The composition is written in a way thatappealed to me tremendously – especially thegeneral mood – which was amiability itself,and so with all that in mind I wrote theSerenade Concertante. I hope you will find itamiable, and not without warmth.

According to a critic in the Detroit Free Press, “themelodic contours are definitely of our time, but thecomposer is not loath to employ conventionalmeans such as ending the entire work with atextbook resolution.” The same reviewer statedthat the idiom will be recognized by future gener-ations as the “creative genius of the mid-twentiethcentury”. (J. Dorsey Calaghan, January 29, 1955)

One of the most frequently performedcompositions of Murray Adaskin, this work hasbecome a part of the standard repertoire ofCanadian orchestras. It also received internationalperformances in places such as Detroit, Jerusalem,Munich, and Mexico City. A favourite piece ofAdaskin’s late wife, Frances James, it was played so frequently that she dubbed it his “C# minorPrelude” (alluding to the famous Prelude byRachmaninov).

Forty-four years later, the Serenade Concertantewas arranged for violin, viola and cello asDivertimento No.9 (see No.48). It was also

incorporated into String Quartet No.3 (see No.17).

Dedicated to Banff painters Peter and CatharineWhyte, close friends of the Adaskins throughoutmore than four decades (see No.55).

Peter Whyte, “Banff”, 1927. Oil on board, 19.5 x 14.3 cm.Private Collection.

[70] Suite for Orchestra


FastSlowlyFast (Scherzo)

3.2.2.2 – 4.2.2.0 – timp., perc., harp – strings

Premiered June 22, 1949, Toronto, on the CBCNational Network, CBC Radio Orchestra.Conductor, Geoffrey Waddington, music advisor tothe English network of the CBC.

Recorded: ACM 23, Vol. 2 and CanadianComposers Portraits, Murray Adaskin, 2002, CD 2

One of Adaskin’s earliest orchestral compositions,the Suite has been performed in many parts of theworld. The work would undoubtedly be consideredconservative and tuneful by today’s standards, butit is interesting to note that after its first broadcastperformance, the composer received the followingtelegram, merely signed, “Graham”: “First perform-ance of your work received with revulsion – haveyou seen a psychiatrist?”

However, the work subsequently earned thecomposer a three-summer scholarship to studycomposition with Darius Milhaud at the MusicAcademy of the West in Carpinteria, California.

Dedicated to Geoffrey Waddington.

60

[71] Suite for Strings


Fugue Ostinato Finale

Premiered July 10, 1950, Vancouver, by the CBCVancouver Chamber Orchestra. Conductor, AlbertSteinberg.

This is the only work written in the twelve-toneidiom.

Although it elicited considerable interest forpotential international performances from suchconductors as Boyd Neal and Benjamin Britten,Adaskin, who never felt at ease with the twelve-tone idiom, turned them down. He felt that thetwelve-tone idiom was not his true voice as acomposer.

Dedicated to eminent Canadian composer andAdaskin’s composition mentor, John Weinzweig,from whom he learned about the fundamentals ofcomposition, and with whom he maintained life-long ties. The letter below was written on theoccasion of Adaskin’s death.

[72] T’Filat Shalom – A Prayer forPeace for Solo Violin & Orchestra

Victoria,1986: one mvt. (6’45”)

Adagio – poco piu moso – a tempo – tempo I

0.2.0.0 – 0.2.0.0 – strings

Orchestral version of the 1974 composition.Commissioned by CBC Vancouver producer GeorgeLaverock.

Premiered April 28, 1986, by the CBC VancouverOrchestra at the Orpheum Theatre. Conductor,James Fankhauser, violin, Campbell Trowsdale.

Originally a composition for violin and pianowritten in 1974 (see Nos.34 and 86), thistranscription was intended for a CBC broadcast ona theme of world peace.

[73] The Travelling Musicians (narrator/singer – soprano or tenor – & orchestra)


Text by P.K. Page

Narrator/singer (soprano or tenor) 2.2.2.2 –2.2.1.1 – timp., perc. – strings

Premiered January 22, 1984, Royal Theatre, VictoriaSymphony Orchestra. Conductor, Paul Freeman,soprano/narrator, Catherine Fern Lewis.

This delightful work constitutes a significantcontribution to the genre of compositions fornarrator and orchestra (which Prokofiev’s Peter andthe Wolf represents so successfully). The TravellingMusicians can easily measure up to the best. Thestory is based on the Brothers Grimm fable TheMusicians of Bremen in which four animals –donkey, dog, cat, rooster – whose old age hasrendered them useless to their owners, combineforces to give their lives a new purpose (seeLazarevich, pp.249-50). After a series of mis-adventures which, through unified efforts, theymanage to overcome, the four partners dedicatetheir lives to making music as each contributes aparticular talent at making sounds as well as skill atplaying an instrument.

This work is all the more remarkable as it is basedon a poetic narrative by one of Canada’s foremost

61

poets and artists, Victoria-based P.K. Page. Over theyears, she has garnered numerous awards for herpoetry, and has received the Order of Canada.

Unlike other texts in similar narrative genres, that ofThe Travelling Musicians is poetry that can standon its own merit, as it projects an inner coherenceand musical quality through its careful choice ofwords, rhythms, alliterations, and sounds.Humorous effects abound in the orchestralinstruments showing the composer at hisChaplinesque best. The timing and pacing of thehumour created by the imitation of animal soundsis impeccable, culminating in a moment of noisychaos as the four friends crash through the glass inan attempt to chase robbers out of their house.

Victoria-based soprano Catherine Fern Lewisstudied with and was coached by Frances JamesAdaskin for the work’s premiere as well as fornumerous other concerts.

Re-scored for chamber orchestra in 1997 (see No.74).

Dedicated to Paul Freeman, former conductor-in-residence with the Detroit Symphony Orchestra.

Top: Last page of theautograph score of TheTravelling Musicians. Right: Ceramic renditionof the “Musicians ofBremen.”

[74] The Travelling Musicians(narrator/singer – sop. or ten. – & chamber orch.)


Narrative by P.K. Page

Narrator/singer (soprano or tenor) 1.1.1.1 – 1.1.1.1– timp., perc. – strings

Re-scored from The Travelling Musicians (see No.73).

Premiered January 19, 1997, Royal Theatre, VictoriaSymphony Orchestra. Conductor, Brian Jackson,soprano/narrator, Catherine Fern Lewis, a frequentinterpreter of Adaskin’s vocal music.

62

[75] There Is My People Sleeping


Adagio

2.2.2.2 – 2.2.0.0 – perc. – strings

Commissioned for CBC Toronto by producer andprogramme organizer Carl Little.

Premiered March, 1971, Winnipeg, on the CBC“Tuesday Night” series as part of a two-hourdocumentary program on the composer “MurrayAdaskin at Sixty-Five”, by the CBC SymphonyOrchestra, conducted by the composer.

This work was inspired by a book of indigenouspoems and drawings by Sarain Stump (1945-1974),the brilliant First Nations artist and poet teaching inSaskatchewan at the time this work was written.Stump’s main objective was to promote traditionalnative values and to assist young natives to learnabout their heritage.

Dedicated to the memory of Canadian author,Edward A. McCourt (1907-72).

Ethnic Poem-Drawing by Sarain Stump.

63

[76] An Ontario Variation (piano)


Andante maestoso

Commissioned by Jack Behrens, University ofWestern Ontario, through the Ontario Arts Council.

For advanced pianist. Intended as one of sixvariations with a pedagogical bent by six differentCanadian composers, on a theme by Jack Behrens.

Dedicated to Jack Behrens, professor of theory andcomposition, and Dean of the Faculty of Music atthe University of Western Ontario.

[77] Eskimo Melodies (piano)


Grave – un poco piu mosso – tempo II – tempo I –tempo II

Re-written from the four-hand version, Rankin Inlet(see No.79), for Walter Prossnitz, who performed itduring his first China tour.


This composition is based on two melodies whichconstituted part of the collection of Inuit tunestaped by the composer during his 1966 visit toRankin Inlet.

Dedicated to Arne Sahlen, humanitarian, whosemusic making and teaching activities are a majorcultural force in Kimberly BC. He has also gainedrecognition throughout the province of BritishColumbia for his tireless work in the field of musiceducation.

Etude No.1 for Piano

See No.120

IX SOLO INSTRUMENTS

[78] Gabrielle (violin)

Victoria, 1997: one mvt. (6’30)

Freely

In late April, 1997, Murray Adaskin received a letterfrom Gabrielle Israelievitch asking, “would you beinterested in writing a little piece for my husbandJacques in honour of his 50th birthday” the follow-ing April. The immediate reply was a resounding“yes”. Two months later, Adaskin notified Mrs.Israelievitch that the completed composition, “by strange coincidence, was 50 bars in length.”

Adaskin felt keenly that a wife who expressed herdevotion and imagination by creating a musical cele-bration for her husband should receive this as a gift,and herself be honoured, hence the title Gabrielle.

Premiered April 19, 1998, Ettore Mazzoleni ConcertHall, Toronto. Violin, Jacques Israelievitch, with thecomposer present.

Dedicated to Jacques Israelievitch, concertmaster ofthe Toronto Symphony Orchestra.

[79] Rankin Inlet – Eskimo Song (piano,four hands)


Grave – molto sostenuto – slightly faster – a tempo – slightly faster

First known performance September 4, 1980, ArtGallery of Greater Victoria. Piano, Jane Davis andPhillip Tillotson.

A wedding gift for Geraldine Pugh and ClaudeMcClean, BMus graduates from the School of Music,University of Victoria.

Inspired by a trip to the Arctic, this compositiondepicts the vast expanses and crackling cold ofthe Canadian North. Not too technicallydemanding if octave stretches are no problem,it develops sophisticated pacing and expressiveskills. Suitable for Grade VI-VII Piano. (ArneSahlen from Provincial Newsletter, a publicationof the B.C. Registered Music TeachersAssociation)

64

[80] Rondalee (piano)


Andante moderato

Premiered October 1, 1994, PTY Recital Hall,University of Victoria, at the Murray Adaskin PrizeBenefit Concert. Piano, Ewa Stojek-Lupin.

Recorded: TAC,Vol. 2

A short piano study for an advanced pianist. Thecomposer wrote this piece in rondo form as a playon the name Rondalee.

Written for and dedicated to young family memberRondalee Ravicchio.

[81] Sonata for Piano

Toronto, 1950: four mvts. (9’10)

With free and gentle motion (2’45”)Moderato - lento (1’50”)Lento (2’45”)Finale, quick and lively (2’30”)

Premiered February 21, 1950, for the InternationalService of CBC. Piano, Louis Crerar.


CBC’s International Service operated up to 1968 asan arm of the Department of External Affairs. After1968 it became a department of the CBC. Thespoken transmissions were beamed to Europe fromSackville, N.B., while Canadian music was recorded

The composer and Rondalee Ravicchio.

on albums and LP discs for distribution andbroadcast throughout Europe and the Americas.(See EMC, p.166)

The sonata makes considerable use of contrapuntaldevices and bi-tonality. It has received numerousperformances over the years, including suchdistinguished artists as Mario Bernardi and KendallTaylor. Its appeal to piano teachers is captured inthe following letter by Winnifred S. Wood, Vice-Principal Emeritus, the Victoria Conservatory ofMusic:

We (my student Patricia Au and I) arethoroughly enjoying your beautiful sonata. Ifind the process of learning new music in anunfamiliar idiom fascinating. It seems to takeon a life of its own, revealing more and moreas it begins to realise that you are seriousabout learning it… (Oct. 31/00)

Kathy McLane, Hamline University, Saint PaulMinnesota, wrote in 1998:

my friend and teacher Rita Juhl [New YorkCity], recently treated me to an evening ofyour piano music. I like many of the teachingpieces and was particularly smitten with theSonata. I plan to use your pieces with mystudents and hope to program the Sonata, inthe near future.

Dedicated to Canadian conductor and pianist MarioBernardi.

[82] Sonata No.1 for Violin


Andante – allegretto scherzando – tempo primo (4’)Adagio (5’)Allegro (3’30”)

Commissioned by the Vancouver Recital Society forthe 1996 Vancouver Chamber Music Festival.

Premiered July 29, 1996, Vancouver. Violin, JamesEhnes.

Reviewed by Elisse Poole in the Globe and Mail onJuly 31, 1996, the sonata was perceived as one of“the evening’s small treasures.”

Dedicated to James Ehnes.

65

[83] Sonatine Baroque for Violin

Toronto, January, 1952: three mvts. (9’50”)

Adagio (3’50”)Andante (3’)Allegro – allegretto – piu moso e cantando – tempo I – allegretto (3’)

Commissioned by the Forest Hill Village CommunityConcert Series.

Premiered March 10, 1952, in the Forest HillCollegiate Auditorium, violin, Eugene Kash.

Recorded: ACM 23, Vol.3; TAC, Vol.2; TAC, Vol.5

In 1946, a group of music enthusiasts in Forest HillVillage, an area within metropolitan Toronto,organized its own community concert series. Theprogramming policy was unique in that severalcommissioned works by Canadian composers,played by Canadian players, were to be performedeach season.

The programme on March 10, 1952 was made upof music of the Baroque period for harpsichord andviolin. With this in mind, the unaccompanied violinseemed to be the perfect medium to use whenwriting in a manner reminiscent of that period. Thework is in the spirit of a Baroque Sonata da chiesa.It is written in the tonal idiom, combined withsometimes biting dissonances.

In May 1999 Adaskin was a guest of the FranzSchubert Society, Roskilde, Denmark, where

internationally renowned American-bornviolinist Jack Glatzer performed SonatineBaroque. He made a recording of this work forthe Adaskin Collection of CDs in Victoria whileon tour in March 2000. As Adaskin listened toGlatzer recording the second movement, heremarked that listening to the piece brought tomind “all the things I wished I had done andwould have liked to have done.”

Dedicated to Andrew Dawes, former Adaskinstudent, and long-time first violin in the OrfordString Quartet. Dawes enjoyed a very warmand lasting relationship with the composer andhis wife, Frances James. He accompanied themto Switzerland on the occasion of Adaskin’s

sabbatical in 1960, where he continued his violinstudies with Lorand Fenyves. Dawes, whoseassociation with Adaskin spans almost half acentury, has played the Sonatine countless times on tours all over the world.

Originally published by G. Ricordi and Co. CanadaLtd., the copyright was returned to the composer in1994.

[84] Sonatine Baroque for Viola


Adagio (3’50”)Andante (3’)Allegro – piu mosso e cantando – allegretto –tempo I (3’)

Transcribed by the composer from his SonatineBaroque for Violin (see No.83) at the request ofSteve Larson from the Adaskin String Trio.

Dedicated to Victoria conductor and violist YarivAloni.

Andrew Dawes.

66

[85] Thirds and Octaves, Etcetera(piano)


Adagietto

Premiered July 29, 1996, by Stephen Prutsman, a pianist living in San Fransisco at the time.

In 1996, the year of Murray Adaskin’s 90thbirthday, he was honoured by the VancouverRecital Society as their Composer-in-Residence fortheir July 1996 Vancouver Chamber Music Festival.Thirds and Octaves, Etcetera is one of the twoworks they commissioned for this event. The otherwork is the Sonata No.1 for Violin (see No.82).

Dedicated to Victoria pianist Ewa Stojek-Lupin.

The composer on his 90th birthday.

[86] T’Filat Shalom – A Prayer forPeace for Violin


During his visit with Murray Adaskin in March2000, violinist Jack Glatzer requested a transcriptionof the original T-Filat Shalom (see No.34) forinclusion into his repertoire (see also No.72).

Dedicated to Jack Glatzer. (For more on theAdaskin/Glatzer connection, see No.83)

[87] Two Pieces for Viola da Gamba

Canoe Lake, Algonquin Park, 1972: two mvts.(9’15”)

Adagio (4’40”)Allegretto (4’35”)

Commissioned by Peggie Sampson through a grantfrom the Canada Council.

Premiered November 20, 1972, Te Deum ConcertSeries, St. James Anglican Church, Dundas, Ontario,by Peggie Sampson.

These two pieces show remarkable craft in writingfor an unusual instrument. The composer identifieswith its character and is freely able to expresshimself, while also expanding the viol’s technicalresources.

The works can be played on either six-string ora seven-string viola da gamba. Some of theunusual effects that are called for include left-hand pizzicato while bowing with the righthand, glissandos both on the frets and abovethem, harmonics, and vibrato on certain notesabove the frets. All fingerings and bowings inthe present edition are original. (Mary Cyr)

Dedicated to Peggie Sampson, viola da gambist,cellist, and pedagogue associated with theUniversity of Manitoba for over two decades.

67

[88] Vocalise No.1 forBb Clarinet


Adagio

Premiered April 4, 1990, in theBoris Roubakine Recital Hall,University of Calgary, by Laura Mills, niece of thecomposer, on the occasion ofher graduating recital towardsher baccalaureate in MusicPerformance.


As a great admirer of theclarinet, Adaskin hoped thispiece would help fill a gap inthe unaccompanied solo works for the instrument. The main theme features theunusual beauty of the clarinet’slower range. The Vocalise No.1is in simple ternary form, itsgeneral mood suggesting aquiet and thoughtfulimprovisation.

Jacques Israelievitch,concertmaster of the TorontoSymphony Orchestra, remarkedthat…”in the lyrical VocaliseNo.1, Adaskin lets the musicevolve in a natural yetcontrolled way, releasingemotional and intellectualenergy that belies the fact that the composer wrotethis when he was 86.” Although Israelievitch usedthis descriptor for the arrangement of this work forsolo violin (see No.91), it is appropriate to all theVocalises No.1. Each of these arrangements(Nos.89, 90, 91) is based on the original VocaliseNo.1 for solo Bb clarinet.

Written for and dedicated to the composer’s niece,Laura Mills.

[89] Vocalise No.1 for Flute


Adagio

Premiered April 27, 1996, Duo CanSonare Concert,University of Southern Texas, by September Payne.

(See No. 88)

Dedicated to former University of Saskatchewancolleague and flutist, Ed and his wife, JaneAbramson.

68

[90] Vocalise No.1 for Viola


Adagio

(See No.88)

Premiered February 28, 2003, PTY Recital Hall, by Cassia Streb.

Dedicated to talented music student, SusanCampbell.

[91] Vocalise No.1 for Violin


Adagio (but freely)

Premiered June 11, 1993, Victoria Conservatory ofMusic, by Louise Alexander. (See No.88)


Dedicated to Andrew Dawes. (For more on theDawes/Adaskin connection, see No.83.)

[92] Vocalise No.2 “In 5/4 Time” forBassoon


Andante – allegretto scherzando – tempo primo

Premiered January 22, 1995, Forrest Ridge School,Bellevue, Washington with George Zukerman,bassoon.

Zukerman was delighted with this addition to thebassoon repertoire:

You crazy man! How absolutely wonderful toreceive Vocalise No.2. It suits the bassoonwonderfully. It is full of wonderfulreminiscences of the Concerto. I told you oncethat the composer who writes more than asingle piece for the bassoon is instantlyinscribed in the annals of double reedsainthood!!. Now when people ask me to play‘the Adaskin,’ I have to ask them which one.(December 3, 1994)

Adaskin replied:

My dear George, thank you for your most

enthusiastic and welcome letter regarding theVocalise No.2 which I dedicated to you withadmiration and love. Everything I know aboutthe bassoon I learned from you, as you mustknow.

(See No.94)

Dedicated to George Zukerman (For more on theAdaskin/Zukerman connection, see No.37)

[93] Vocalise No.2 “In 5/4 Time” forCello




(See No.94)

Dedicated to Pamela Highbaugh Aloni (cellist withthe LSQ)

[94] Vocalise No.2 “In 5/4 Time” forBb Clarinet



Written for the Vancouver New Music Society incelebration of the 35th anniversary of the CanadianMusic Centre with its national headquarters inToronto.

Premiered at the anniverary concert, November 27,1994, Vancouver Playhouse. Clarinet, LoriFreedman.

Forty-five Canadian composers presented newworks to celebrate the anniversary. The eventconcluded with a CBC broadcast of the fourconcerts on the CBC radio’s “Two New Hours” and“The Arts Tonight.”

Earlier in the year Associate Composers of the CMC were invited to submit works in honour of the Centre. All pieces were to use the sameinstrumentation: flute, clarinet, violin, cello, piano,percussion or any combination of these instrumentsto which a vocal component could be added.

69

Murray Adaskin, who has always enjoyed thehaunting and magic voice of the clarinet, decidedto write his composition for this instrument.Between 1994 and 1996, this Vocalise No.2 “In5/4 Time” was also transcribed for bassoon (seeNo.92), cello (see No.93), viola (see No.95), andviolin (see No.96).

This is Adaskin’s second unaccompanied vocalisefor the clarinet. Not unlike Vocalise No.1 for BbClarinet (see No.88), it is intended to invoke thespirit of an extemporization.

[95] Vocalise No.2 “In 5/4 Time” for Viola



Never performed.

(See No. 94)

[96] Vocalise No.2 “In 5/4 Time” for Violin



Premiered April 27, 2002 at a media reception inToronto on the occasion of the launching of theCanadian Composers Portraits series. (For moreon the series, see Appendix A.) Violin, TrevorFitzpatrick.

(See No.94)

Dedicated to Ann Elliott-Goldshmid, first violin withthe LSQ.

Programme of the CMC Anniversary Concert.

70

[97] Zelda (violin)


Allegro moderato – adagio (3’30”)Lento (4’)Allegretto (2’15”)

Premiered October 20, 2002, Alix Goolden Hall, Victoria Conservatory of Music, during thetribute concert “Ode To Joy: Murray AdaskinRemembered.” Violin, Mark Lupin.

Zelda is one of the few Adaskin works that did not receive a premiere at the time of itscreation, and was performed posthumously.

Composed in memory of Zelda Feldbrill, wife ofthe Canadian conductor and long-time friendof the Adaskins, Victor Feldbrill. The conductorhas distinguished himself as a staunchsupporter of Canadian music, and hasconducted more premieres of Canadian orchestralworks throughout the 1950s, ‘60s, ‘70s, than most other conductors of the period.

Dedicated to Victor Feldbrill.

Victor Feldbrill with Adaskin (1990s)

71

X VOCAL WORKS

Between 1992 and 1996, Adaskin created threeversions of A Wedding Toast on a poem by JamesBertolino, Guemes Island, Washington. (See Nos.98, 99, and 100)

[98] A Wedding Toast for Soprano &Piano


Andante

Premiered March 1, 1992, “Celebrity Series,”Convocation Hall, University of Saskatchewan.Soprano, Catherine Lewis, piano, Robert Holliston.

Dedicated to Rosita and Freeman Tovell on theoccasion of their 50th wedding anniversary.

[99] A Wedding Toast for Soprano &String Quartet


Andante

Premiered April 30, 1994, Goward House, Victoriaon the occasion of the wedding of Yariv Aloni andPamela Highbaugh. Soprano, Catherine Lewis,violins, Irene Mitri and Sharon Stanis, viola, JoannaHood, and cello, Martin Bonham.

Re-scored from A Wedding Toast for Soprano andPiano (No.98) at the request of Yariv Aloni andPamela Highbaugh.

[100] A Wedding Toast for Soprano &Guitar Victoria, 1996: one mvt. (3’)

Andante

Never performed. Re-scored from A Wedding Toastfor Soprano and Piano (No.98).

Thenewlywedswith thecomposer.

“A Wedding Toast”, poem by James Bertolino, “EmergingBirds”, by Philip McCracken.

72

[101] A Simple Tune Without Words(soprano, piano & percussion – a china bowl)


Andante

Premiered summer 1981, Vernon, BC. Soprano,Catherine Lewis, piano, Phillip Tillotson.

The melodic line is derived from March No.3(see No.65).

[102] Autumn Song (soprano & bassoon)

Saskatoon, 1965, one mvt. (5’)

Text by Mary Elizabeth Bayer.

An aria from the composer’s opera Grant, Wardenof the Plains (see No.55). The setting is a log cabinnear Grant Town, Manitoba in the early 1820s.Maria McGillis sings of the coming cold winter with its many hardships and its loneliness. A solobassoon sets the tone for this stark scene.

Premiered in 1965 at the Winnipeg Art Gallery.Soprano, Phyllis Thompson, bassoon, Tom Elliot.

On the occasion of the tribute concert “MurrayAdaskin Remembered: An Ode to Joy”, on October20, 2002, at the Victoria Conservatory of Music,Mary Elizabeth Bayer wrote new words to themusic of Autumn Song. This text, “Ave LittleGiant,” serves as the poet’s farewell to thecomposer. The concert also marked the premiereperformance of the new lyrics by Catherine FernLewis.

Catherine Fern Lewis.

[103] The Bells of Old England (soprano,alto, or tenor & piano)

Toronto, c.1940: one mvt. (2’)

Text by John Adaskin.

One of the earliest compositions written by Murray Adaskin. For other early compositions, see Appendix B.

[104] Busy (soprano & oboe or violin)


Premiered October 9, 1992, “New Music Concert”,on the occasion of the 20th anniversary of theOpen Space Gallery, Victoria. Soprano, CatherineLewis, oboe, Sandra Pohran.

Busy and The Secret (see No.109) were bothcomposed to poems by Robin Skelton. MurrayAdaskin had a great fondness for the poetry of and the man Robin Skelton. Often perusingSkelton’s books, these poems, The Secret and Busy, compelled Adaskin to set them to music. He was charmed by their innocence and truth.

Dedicated to Sylvia, wife of Robin Skelton.

Adaskin in hislate teens.

AdaskinwithRobinSkelton(1990s).

73

[105] Epitaph (soprano &piano)

Toronto, 1948: one mvt. (2’)

Slowly

Poem by French poet, GuillaumeApollinaire (1880-1918).

Premiered June 13, 1952, Toronto,for broadcast on the InternationalService of the CBC. Soprano,Frances James, piano, Louis Crerar.


Adaskin was deeply moved byApollinaire’s text, an ode to Frenchpainter Henry Rousseau (1844-1910), who retired as a custom’sagent at the age of forty to devotehimself to painting. Rousseau wasconsidered naïve and eccentric at the time, and his genius was not recognized duringhis lifetime. Today, however, he is recognized asone of the important modern, primitive painters.

Hear us, kindly Rousseau.We greet you,Delaunay, his wife, Monsieur Queval and I.Let our luggage through the Customs to the sky,We send you canvas, brush and paint of ours,During eternal leisure, gloriousThe face of the Stars.

Dedicated to Frances James Adaskin.

[106] Hymn of Thanks (solo or unisonvoices & piano)


Poem by Baptist minister, A. Eustace Haydon(1880-1975)

Written for Camps Ahmek and Wapomeo, CanoeLake, for unison voices and piano. This eveningsong became the camps’ standard hymn. Dedicatedto camp directors Taylor and Ethel Statten. (Formore on the Statten/Adaskin connection, see No.57) Originally published by Boosey & Hawkes, thecopyright was returned to the composer in 1993.

Pat Martin Bates, “Of Man and the Universe”, presentedon the occasion of Adaskin’s 80th birthday, 1986.Perforated mixed media with collage, paint, and ink, 55.5 x 55.5 cm. The Adaskin estate. (See colour plate VIII.)

[107] Of Man and the Universe(soprano or tenor, violin & piano)


Poem by Alexander Pope (1688-1744)

Slow, majestic

CBC Toronto commissioned this work forCanada’s Centennial celebrations whichcoincided with Expo ’67 (the Universal andInternational Exhibition celebrating Canada’scentenary), for a performance by mezzo-soprano Joan Maxwell, piano, Ross Pratt, andviolin, Arthur Polson. In keeping with the “Man and the Universe” theme of theMontreal Exposition, the composer selectedquatrains IX and X of Epistle I of Pope’s poemAn Essay on Man (1734).

Premiered August 13, 1967, at the Place des Arts,Montreal, Quebec, and later broadcast by CBC onseveral occasions.

Adaskin chose this text, which outlines the poet’sphilosophy toward “the nature and state of manwith respect to the universe”, as a reflection of hisown philosophy.

Paraskeva Clark, “Portrait of FrancesJames”, 1952. Oil oncanvas, 85.4 cm x121cm.The Adaskin estate.(See colour plate VI.)

74

[108] The Prairie Lily (soprano solo orunison voices and piano)


Poem by Hugh Blakeney.

Commissioned by the Zonta InternationalCentennial Project Committee, Regina, with theintent of providing repertoire in the contemporaryidiom for school children. Mr. Blakeney was thewinner of a poetry contest sponsored by theorganization. The intent of the commission was topublish the composition for use in all grade nineclassrooms in Saskatchewan.

Canadian tenor, David Mills, has performed thispiece on numerous occasions, and is believed tohave given its premiere.

[109] The Secret (soprano & oboe or violin)


Poem by Robin Skelton (1925-1999).

(See No.104)

Dedicated to artist Philip and Anne McCracken,friends of the composer from Guemes Island,Washington.

[110] The Shepherd (soprano & piano)

Banff, 1934: one mvt. (1’40”)

Andante

Poem by William Blake (1757-1827).

Premiered July 16, 1934, the Banff Springs Hotel,Banff, Alberta. Soprano, Frances James, piano,Louis Crerar.

Director of the string trio at the Banff Springs Hotelduring the 1930s, Murray Adaskin wrote this workfor his wife, Frances James, on the occasion of theirthird wedding anniversary, July 16, 1934.

The critic of the Calgary Herald wrote: “With a finesensitiveness [Murray Adaskin] has caught and heldthe spiritual significance of a pastoral poem writtenin the manner of the poet mystic.”

Dedicated to Frances James.

“The Lark Ascending”by Philip McCracken,the logo of AdLarPublications. The composer at leisure during his early Banff days.

75

Adaskin’s activities as pedagogue were multi-faceted. He taught music history andcomposition classes at the University ofSaskatchewan as well as giving individuallessons on the violin and in composition totalented music students. His interest in musiceducation is evidenced in the section belowwhich lists a number of compositions forvarious instruments, each with a focus on aspecific technical problem. These compositionswith a pedagogical intent are aimed at studentsof differing levels of musical proficiency.

An Ontario Variation (solo piano)

See No.76

[111] Calisthenics (violin & piano)

Canoe Lake, Algonquin Park, 1968: one mvt. (3’10”)

Gracefully, a tempo

Premiered May 5, 1971, Saskatoon Music Festivalby Jeff Krolik,violin, who won his class of 14 yearsand under.

During the month of March, 1973, CTV showedfive half-hour daily programs which used Adaskin’sSerenade Concertante as beginning and end theme.On one of these programs, Adaskin also performedhis Calisthenics, Daydreams and Quiet Song.

Calisthenics is one of seven compositions writtenfor violin and piano as pedagogical pieces at eitherthe intermediate or advanced level, each of whichconcentrates on one or more aspects of violintechnique. The three pieces composed in 1963include: Dance (see No.112), Dedication (seeNo.118), and Quiet Song (see No.125). All threewere premiered at the University of Saskatchewanby Roman Totenberg. Three others were composedin 1968. In addition to Calisthenics, they includeDaydreams for Violin and Piano (see No.113), and

XI WORKS FOR BEGINNER, INTERMEDIATEAND ADVANCED PERFORMERS

Adaskin as pedagogue at the University of Saskatchewan.

Legato and Ricochet (see No.124). A seventh,Gretchen at Seven (see No.123), was composed in1989. Violinist Roman Totenberg inspired Adaskinto develop pieces that young people could playconcentrating on specific technical skills.

Calisthenics is based on two ideas, both technicalin nature, including establishing control over theentire fingerboard and shifting from and throughfirst and seventh positions.

Dedicated to Jeffrey Krolik. (For more on theAdaskin/Krolik connection, see No.34.)

[112] Dance (violin & piano)


Allegretto

Premiered December 1, 1963, Convocation Hall,University of Saskatchewan, “Sunday EveningRecitals”. Violin, Roman Totenberg, piano, BoydMacDonald. (see No.111)

Intended as a study in natural harmonics forintermediate and advanced violinists.

76

[113] Daydreams for Violin & Piano


Andante

Premiered December 13, 1969, Regina, BiennialConvention of the Canadian Music Educators’Association. Violin, Murray Adaskin, piano, KeithCockburn.

Originally written for violin and piano, Daydreamswas later re-scored for the following instrumentalcombinations: Eb alto saxophone and piano (seeNo.114), Bb clarinet and piano (see No.115), twoviolins (see No.116), and violin and cello (see No.117).

Daydreams for Violin and Piano is one of threecompositions written in 1968 for intermediate andadvanced musicians (see No.111). The work isbased on two ideas, technical in nature, suggestedto the composer by Roman Totenberg: the rotatingmotion of the hand and lifting the finger to re-attack a note.

Originally published by Sonante Publications, thecopyright was returned to the composer in 1993.

[114] Daydreams for Eb AltoSaxophone & Piano


Andante

Completed in August, 1972, for the third WorldSaxophone Congress, at the request of Toronto-based saxophone soloist and pedagogue, PaulBrodie.

Premiered on CBC radio Toronto, 1987. Saxophone,Julia Nolan.

Keith MacMillan, Director of the CMC in Toronto,wanted to have this composition included in the1971 teaching syllabus in the Royal Conservatoryof Music for intermediate and advanced players. Asits inclusion in the syllabus was conditional on thecomposition being available in published form, andas getting a Canadian composition published in the1970s was not an easy task, Adaskin had to declinethe offer. The composer’s frustration with the lackof a proper venue for the publication of Canadiancompositions, is expressed in his correspondencewith MacMillan (see Lazarevich, p.254).

Dedicated to young Victoria saxophonist TristanWilliam James McClean.

[115] Daydreams for Bb Clarinet &Piano


Andante

Premiered February 25, 1971, Convocation Hall,the University of Saskatchewan at a Department ofMusic Junior Recital. Clarinet, Karen McNichol,piano, Trevor McLain. For intermediate andadvanced players.

Dedicated to music student, Karen McNichol.

[116] Daydreams for Two Violins


Adagio

One of two Adaskin compositions commissioned by“New Music for Young Musicians” as part of the“BC Millennium 2000” series. (The other work isFinki, Where are you. See No.121) The “NewMusic for Young Musicians” was a co-operativeproject of the BC Regional Council and the NationalOffice of the Canadian Music Centre.

Premiered March 22, 2001, Wood Hall, VictoriaConservatory of Music. Violinists Justin Chiu andJordon Ofsesh.

For intermediate and advanced players, this duetteaches violinists two specific positions: to play theE note on the open E string with the fourth finger,and to play the same note on the A string. Theyalso play the open A with the fourth finger on theD string, which is the same note a fifth lower. (Forthe origin of Daydreams, see No.113)

[117] Daydreams for Violin & Cello


Andante

Intended as an exercise for the second finger within the first position for very young violinists(see No.113).

Dedicated to the Victoria sister-and-brother team,Amy and David Levinson.

77

[118] Dedication (violin & piano)

Canoe Lake, 1963: one mvt. (3’10”)

Andante

Premiered December 1, 1963, University ofSaskatchewan. Violin, Roman Totenberg, piano,Boyd MacDonald.

Recorded: Dances and Romances for Violin

Intended as an exercise for the second fingerwithin the first position for violinists at theintermediate and advanced level (see No.111).

Dedicated to Karen Gelmon, daughter of theAdaskins’ good friends from the Saskatoon period,Sydney and Miriam Gelmon.

[119] Essay for Strings (junior orchestra)


Allegro: tempo di marcia

Commissioned by the Oak Bay Junior-Senior HighSchool Orchestra of Victoria.

Premiered September, 1972 at the British ColumbiaMusic Educators’ Association Conference.

I attended one rehearsal at Oak Bay JuniorHigh School. They played the Essay for me,and then I took them through the work. It’s agood piece(!) and they play it well. I cameaway quite delighted with the possibilities.The piece exhibits a certain freshness andexcitement which I think the listener will findinfectious. (Murray Adaskin)

Dedicated to Oak Bay high-school music teacherand orchestra director, Bernard Rain. (For more onRain, see No.129)

[120] Etude No.1 for Piano


Allegretto

Commissioned for the Victoria Conservatory ofMusic Piano Summer School (at that time locatedon Academy Close) by the programme foundersand directors Susan de Burgh and Arne Sahlen.

Premiered July 11, 1992, Young Auditorium,Camosun College, Victoria. Piano, Katelyn Clark.


For advanced pianist, this Etude is a study inrhythmic precision and detached finger action. Oneof three piano pieces commissioned for the PianoSummer School, suitable for differing levels ofstudent ability. The other two are Gretchen (see No.122) and Savannah (see No.127). Each piece wasdedicated to and named after one of thecomposer’s grandchildren.

Dedicated to the composer’s grandson, CameronBigge.

Cameron Bigge

78

[121] Finki, Where Are You? (two violas)


Andante

One of two compositions commissioned for duoinstrumentalists by “New Music for YoungMusicians”. The other is Daydreams for TwoViolins (see No.116). The “New Music for YoungMusicians” was part of the“BC Millennium 2000”series, a co-operative project of the BC RegionalOffice and the National Office of the CanadianMusic Centre.

The title is based on an incident at Canoe Lakewhen Finki, the cat accompanying Adaskin’s niece who was visiting at the time, temporarilydisappeared. “Uncle Murray” took his niece by thehand, and together they walked out into the night,calling, “Finki, where are you?” The intervals of thefalling third and rising fourth emulate the melodicinflection of the call. This inflection became a sortof Adaskin “signature”, and may be detectedthroughout his output, embedded in a number ofhis compositions.

The piece gives beginner violinists an opportunityto play together taking turns at performing the firstand second viola parts.

Dedicated to a neighbour and beginner violist,Chelsea McClean.

Shandy, the composer’s beloved cat.

[122] Gretchen (piano)


Andante

Premiered July 11, 1992,Young Auditorium,Camosun College, Victoria. Piano, Christa Monasch.


One of three piano pieces commissioned by Susan de Burgh and Arne Sahlen for the VictoriaConservatory of Music Piano Summer School. Theother two are Etude No.1 for Piano (see No.120)and Savannah (see No.127) for intermediate andadvanced pianists.

Dedicated to Gretchen Bigge.

Ten years after the composition of Gretchen, inorder to celebrate the twentieth annualVictoria Piano Summer School anniversary, itsdirectors and faculty commissioned seven BCcomposers to each write a piano variation onAdaskin’s Gretchen. The new composition,premiered on July 13, 2002, at the PTY Recital Hall,University of Victoria, with Miranda Wong at thepiano, is entitled “Variations on a Theme of MurrayAdaskin”.

79

Gretchen Bigge.

[123] Gretchen at Seven (violin & piano)


Andante

For intermediate and advanced violin (see No.111).

Written for composer’s granddaughter, GretchenBigge on the occasion of her seventh birthday,October 7, 1989. For intermediate and advancedviolinists.

Dedicated to Gretchen Bigge.

[124] Legato and Ricochet (violin & piano)


Andante moderato

Recorded: Dances and Romances for Violin

One of three pedagogical pieces for violin andpiano, composed in 1968 for young musicians atthe intermediate and advanced level, all of whichare designed to address certain technical problemsidiomatic to the instrument (see No.111).

Based on two ideas, both technical in nature,including string crossing and relaxation of the wrist.They were suggested to the composer by violinistRoman Totenberg.

[125] Quiet Song (violin & piano)


Lento

Premiered December 1, 1963, Convocation Hall,University of Saskatchewan. Violin, RomanTotenberg, piano Boyd McDonald.

Intended for beginner violinists (see No.111).

Dedicated to Cheryl Ames.

Originally published by Leeds Publishing, thecopyright was returned to the composer in 1983.

Rondalee (piano)


See No.80

[126] Rondino for Orchestra


Stately and rhythmic

3.2.3.1 – 4.4.1.0 – piano – strings

Commissioned by the Canadian Music Centre for itsgraded school-music programme, to be performedby junior orchestra.

Premiered March 9, 1965, Toronto, North TorontoCollegiate Orchestra. Conductor, Douglas Couke.

Dedicated to the composer’s brother, John Adaskin.

80

[127] Savannah (piano)


Andante

See Etude No.1 (No.120) and Gretchen for Piano(No.122)

Premiered July 11, 1992, Young Auditorium,Camosun College, Victoria. Piano, Patricia Au.

Intended for intermediate pianist.

Dedicated to the composer’s granddaughterSavannah Bigge.

Savannah Bigge.

[128] Serenade for Strings

Toronto,1934: one mvt. (6’45”)

Andante

Premiered May 22, 1934, CKNC Toronto.Conductor, Alexander Chuhaldin and his “MelodicStrings” orchestra.

Alexander Chuhaldin was both a member of theviolin section and conductor of the “MelodicStrings.” He had commissioned this work fromAdaskin with the intention of conducting it on air,although at the time he was neither a trainedconductor nor composer.

As it happened, Sir Ernest MacMillan heard thebroadcast, and on the strength of it offered MurrayAdaskin a scholarship to study composition withhim. The subsequent ten lessons were Adaskin’sintroduction to the study of composition (seeLazarevich, pp.137-138).

Suitable for performance by a professionalensemble as well as an accomplished highschool/university level group.

Dedicated to Alexander Chuhaldin and his“Melodic Strings.”

[129] Three Tunes for Strings

Victoria, 1976: three works (12’)

Grave: Rankin Inlet (Eskimo Song, 5’30”)Larghetto: Meyerke, My Son (Jewish Song, 4’)Tempo di marcia: When the Ice Worms Nest Again(British Columbia Prospector’s Song, 1’30”)

Commissioned by the Oak Bay Strings of Victoriathrough a grant from the Canada Council.

Intended for junior string orchestra. Each of thethree pieces may be performed as a separatecomposition.

Bernard Rain, who commissioned this work for theOak Bay Strings, wrote the following in his grantapplication:

I am the Conductor and Music Director of theOak Bay Strings. This is a string orchestrawhich has a membership, this season, of 36young people between the ages of 13 and 19.The requirements for membership are:

81

reasonable ability on violin, viola, cello ordouble bass; studying with a private teacher in a recognized string class in the GreaterVictoria School system (or equivalent); andwillingness to rehearse Monday evenings fortwo hours. The purpose of the group is tofoster in young students the love andenjoyment of making music together and thedevelopment of good string playing. We alsohope to prepare the members for possibleparticipation, as adults, in orchestras andensembles as a hobby or profession.

Dedicated to the Director of the Oak Bay Strings,Bernard Rain.

[130] Toccatina for Piano

Saskatoon, 1971: one mvt.(25”)

Allegretto

Intended for beginner pianist.

In 1973, the Waterloo Music Co. published“Horizons” – Music by Canadian Composers, Bk.1.The goal was to provide in that volume shortcompositions by nine different Canadian composersintended for grades 3 to 5. Each piece was to bebased on a different scale pattern in order toacquaint the students with non-traditionalsounding music. The composers were: George Fiala,Louis Applebaum, Violet Archer, Robert Fleming,Carleton Elliott, Brian Cherney, Richard Johnston,Robert Turner and Murray Adaskin. Adaskin’sToccatina, number 9 this collection, is based onaugmented seconds.

The technical problem is presented in the use of adevice known as “poly-meter”: the introduction ofthe simultaneously played triple and duple meter. In the score, Adaskin includes an exercise to assistwith the technical requirements of this piece.

[131] Waltzling for Piano


Allegretto

Originally entitled “Valse”, this piece was written in1927 for Naomi Adaskin, wife of Murray Adaskin’sbrother John Adaskin. It was renamed “Waltzling”in 1995. Intended for the intermediate pianist.

Dedicated to Naomi Adaskin.

82

83

I Pavelic, “Portrait of Frances Adaskin”, 1979 (see No.7)

II Pavelic, “Sketch for Portrait of Murray Adaskin”, 1979 (see No.60)

84

III Photograph of Adaskin’s studio on Canoe Lake, Algonquin Park, Ontario

85

IV Clark, “Algonquin Morning, Canoe Lake” (see No.9)

86

V Clark,”Portrait of Murray Adaskin”. Oil on canvas, 75 x 100 cm, 1945

VI Clark, “Portrait of Frances James” (see No.105)

87

VII Eli Bornstein, (Detail) “Quadriplane Structurist Relief No.5” (see No.5)

88

VIII Bates, “Of Man and the Universe” (see No.107)

89

IX Frances and Murray Adaskin with University of Victoria President, Howard Petch, upon conferral of honorary doctorates (see No.50)

X The composer wearing his Officer of the Order of Canada medal, 1981

90

XI Ken Dallison, historic poster of the National Arts Centre Orchestra (see No.62)

91

XII Final resting place of Frances and Murray Adaskin. Royal Oak Burial Park, Victoria, B.C.

92

93

1. The Adaskin Collection (TAC)

The Adaskin Collection is a five-volume series, recordedbetween 1995 and 2001 by AdLar Music in Victoria.The company is no longer in operation, but all of therecordings are available through the Canadian MusicCentre, Distribution Services:

The Canadian Music Centre / Centre de Musique Canadiene20 St. Joseph Street, Toronto, ON M4Y 1J9www.musiccentre.ca, www.centremusique.ca

The contents of each of the five volumes are listed below:

Vol. 1

String Quartet No.1 (1963)

String Quartet No.2 (La Cadenza) (1994)

The Lafayette String Quartet on Amati instruments:

Ann Elliott-Goldshmid, violin (Nicolo Amati III, 1637)Sharon Stanis, violin (Antonio and Hieronymus Amati,1627)Joanna Hood, viola (Antonio and Hieronymus Amati,1607)Pamela Highbaugh Aloni, cello (Hieronymus Amati II,1690)

Vol. 2

Solo works performed by Ewa Stojek-Lupin, AndrewDawes, Pat Kostek and Tsuyoshi Tsutsumi.

Vocalise No.2 “In 5/4 Time” for Solo Cello (1994)

Sonata for Piano (1950)

Sonatine Baroque for Solo Violin (1952)

Rondalee for Piano (1993)

Eskimo Melodies for Piano (1980)

Etude No.1 for Piano (1992)

Vocalise No.1 for Solo Bb Clarinet (1989)

Gretchen for Piano (1992)

Vol. 3

Octet for Strings (1993)

The Lafayette String Quartet and CuartetoLatinoamericano:

Saul Bitrán, violinArón Bitrán, violinJavier Montiel, violaAlvaro Bitrán, cello

A P P E N D I X AR E C O R D I N G S O F T H E C O M P O S I T I O N S O F M U R R AY A D A S K I N

Sonata No.2 for Violin and Piano (1987)

Sharon Stanis, violin Ewa Stojek-Lupin, piano

Divertimento No.7 (1985)

Tsuyoshi Tsutsumi, celloPamela Highbaugh Aloni, cello Ewa Stojek-Lupin, piano

Vocalise No.1 for Solo Violin (1992)

Jacques Israelievitch, violin

String Quintet (1995)

The Lafayette String Quartet

Garry Karr, bass

Vol. 4

Sonata for Cello and Piano (1981)

Tsuyoshi Tsutsumi, celloEwa Stojek-Lupin, piano

Nocturne for Clarinet and Piano (1978)

Patricia Kostek, clarinetBruce Vogt, piano


Ann Elliott-Goldshmid, violinPatricia Grant Lewis, piano

Daydreams for Eb Alto Saxophone and Piano (1971)

Erik Abbink, saxophoneJacqueline Perriam, piano

Vol. 5

Woodwind Quintet No.1 (1974)

The Bergen Woodwind Quintet:

Gro Sandvik, fluteSteinar Hannevold, oboeLars Kristian Brynildsen, clarinet Ilene Chanon, hornPer Hannevold, bassoon

Musica Victoria (2000)

Thüringer Salonquintett:

Andreas Hartmann, 1st violinEgbert Funda, 2nd violin


http://www.centremusique.ca

94

Georg Fritzsch, violincelloPeter Nelson, double bassJohannes Rainer Eichhorn, piano

Sonatine Baroque for Solo Violin (1952)

Jack Glatzer, violin

Woodwind Quintet No.2 (1993)

The Bergen Woodwind Quintet

2. Anthology of Canadian Music (ACM)

No longer in print. Available at the National Library ofCanada and selected university music libraries.

A multi-volume collection of recorded Canadian musicreleased between 1978 and 1991 through Radio CanadaInternational. Its goal was to present in boxed sets themost significant works of Canadian composers for thepurpose of making their compositions available for radiobroadcasts nationally and internationally.

Project director Betty Zimmerman. Executive ProducerMonique Grenier. ACM Vol. 23, released in 1986, is aboxed set of five vinyl records of the music of MurrayAdaskin. The contents are listed below:

Vol. 1

Murray Adaskin talks with Bryan N.S. Gooch, musician,author, composer, conductor and university professor, ina conversation specially produced by Radio CanadaInternational for this Anthology of Canadian Music.

Vol. 2


Lorand Fenyves,violinPierre Souvairan, piano

Epitaph (1948)

Frances James Adaskin, sopranoMario Bernardi, piano

Suite for Orchestra (1948)

CBC Montreal Orchestra.

Roland Leduc, conductor

Canzona and Rondo (1949)

Marta Hidy, violin Chestrer Duncan, piano

Vol. 3

Ballet Symphony (1951)

Toronto Symphony Orchestra

Geoffrey Waddington, conductor

Sonatine Baroque for SoloViolin (1952)

Andrew Dawes, violin

Serenade Concertante (1954)

Toronto Symphony Orchestra.

Sir Ernest MacMillan, conductor

Rondino for Nine Instruments (1961)

Chamber Ensemble, Winnipeg Symphony Orchestra

Victor Feldbrill, conductor

Vol. 4

Concerto for Bassoon and Orchestra (1960)

George Zukerman, bassoon

CBC Vancouver Orchestra

John Avison, conductor

Two Portraits (1973)

Lorand Fenyves, violinPatricia Parr, piano

Divertimento No.3 (1965)

Taras Gabora, violinBarry Tuckwell, hornGeorge Zukerman, bassoon

Diversion for Orchestra (“An Entertainment”) (1969)

National Arts Centre Orchestra

Mario Bernardi, conductor

Vol. 5

Bassoon Quintet (1977)


The Purcell String Quartet:

Norman Nelson, violinJoseph Peleg, violinPhilippe Etter, violaIan Hampton, cello

Fanfare for Orchestra (1970)

CBC Winnipeg Orchestra

Eric Wild, conductor

95

Sonata for Cello and Piano (1981)

Tsuyoshi Tsutsumi, celloRonald Turini, piano

3. Opportunity Knocks

Classic commissions from the CBC radio programmes ofthe 1950s. Symphony Nova Scotia conducted by HowardCable.

Track 14 Murray Adaskin: March No.1

CBC Records/Les disques SRCP.O. Box 500, Station A, Toronto,Ontario, Canada M5W 1E6

©1992 Canadian Broadcasting Corporation/SociétéRadio-Canada

www.cbc.ca

4. Canadian Composers Portraits/ Portraits de Compositeurs Canadiens

Murray Adaskin (1906-2002)

A series of interviews and recordings produced byCentrediscs at the Canadian Music Centre (CMC) withthe assistance of the Canada Council. Each disc presents aretrospective of the last fifty years of Canadian musicalheritage and is dedicated to a single composer. This is awork in progress, with the CD of the music of MurrayAdaskin being recorded on CM CCD 8102 (2002).

CD 1Adaskin documentary produced and presented by EitanCornfield (53’30”)

CD 2Diversion for Orchestra “An Entertainment” (1969)

National Arts Centre Orchestra


Concerto for Bassoon and Orchestra (1960)


CBC Vancouver Chamber Orchestra

John Avison, conductor

Suite for Orchestra (1948)



In Praise of Canadian Painting in the Thirties for StringOrchestra and Piano (1975)



Divertimento No.6 for Solo Percussion and Orchestra(1985)

John Rudolph, percussion



The Canadian Music Centre / Centre de Musique Canadiene20 St. Joseph Street, Toronto, ON M4Y 1J9

www.musiccentre.ca, www.centremusique.ca

©Centrediscs / Centredisques

5. Making Magic: A Tribute to Murray Adaskin

A CBC Radio Two documentary

Interviewer: Rodney Sharman

Host: Michael Juk

Musicians: Thüringer Salonquintett and the LafayetteString Quartet

Program: Westcoast Performance

Episode Title: Making Magic

Air date: April 1, 2001

Length: (54’)

Contact Information:Westcoast Performance, CBC Radio TwoBox 4600, Vancouver, BC V6B 4A2

http://vancouver.cbc.ca/wcp and click on the MurrayAdaskin Link

©2001, Westcoast Performance, CBC Radio Two

6. Suite Hebraique – Jacques Israelievitch, Violin

John Greer, piano

Track 9

Murray Adaskin: Vocalise No.1 for Solo Violin (1992)

©ibs: 93 Langarth Street WestLondon, ON, Canada N6J 1P5

(519) 439-2334 Fax (519) 679-6651

http://vancouver.cbc.ca/wcp


http://www.centremusique.ca

http://www.cbc.ca

96

7. Dances and Romances for Violin Moshe Hammer, violinValerie Tryon, piano

Dedication for Violin and Piano (1963)

Legato and Ricochet for Violin and Piano (1968)

CBC Records, MVCD 1071, July, 1994, Musica Viva Series

8. Canadian Compositions for Young Pianists (BR 1336)

A four CD set available through the Canadian MusicCentre.

Elaine Keillor, piano.

CD No.C Savannah (1992) (Intermediate level)

Vinyl Records with Murray Adaskin’sMusic

No longer in print, these records are available through theNational Library of Canada and selected universitylibraries.

Algonquin Symphony (1958) – Dominion Records

Stereo – S1372 Mono – 1372

Conductor, Victor Feldbrill, with the TorontoPhilharmonia.

Algonquin Symphony (1958) – Citadel Records (withthe cooperation of CAPAC – CT-6011)

Conductor, Victor Feldbrill, with Toronto SymphonyOrchestra. Producer, Louis Applebaum.

Recorded at Massey Hall, Toronto. Recording engineer,Bill Woods.

Diversion for Orchestra (“An Entertainment”) (1969) –Canadian Broadcasting Corporation, SM 333.

Conductor, Mario Bernardi, with the National ArtsCentre Orchestra. Producer, Gary J. Hates.

Recorded at Sacre-Coeur Church, Ottawa May, 1977.Recording engineer, Paul Lacroix.

Diversion for Orchestra (“An Entertainment”) (1969) –Canadian Broadcasting Corporation, SM 294 (stereo)

Conductor, Pierre Hétu, with the Edmonton SymphonyOrchestra. Producer, Duncan McKerchar.

Recorded at St. Timothy's Anglican Church, Edmonton,Alberta. Recording engineers, G. Ratcliffe & A. Lamden.

Concerto for Bassoon and Orchestra (1960) – CBCRadio Canada, SM-143 (stereo)

Conductor, John Avison, with the Vancouver ChamberOrchestra. Bassoon, George Zukerman.

Divertimento No.3 (1965)– Radio Canada International

Producer, Monique Grenier. Violin, Taras Gabora,bassoon, George Zukerman, French horn, Barry Tuckwell.Recording engineer, Gilles Vaudeville.

Serenade Concertante (1954) – Columbia Records (1963)

Stereo – MS 6521 Mono – ML 5921

Conductor, Walter Susskind, with the CBC Orchestra.Producer, Howard Scott.

Also available as Columbia Masterworks R63 1405.

97

A P P E N D I X BP U B L I C AT I O N S O F T H E M U S I C A L S C O R E S O F M U R R AY A D A S K I N

Unless otherwise noted all musical scores listed in thiscatalogue are available through the Canadian MusicCentre (CMC). The CMC is a lending library as well as asource for the purchase of scores:

The Canadian Music Centre20 St. Joseph St., Toronto, Ont. M4X 1J9

www.musiccentre.ca [email protected]

The following scores have been published commercially:

Serenade for Strings (Catalogue No.128) is published inthe Canadian Musical Heritage Society HistoricalAnthology, Music for Orchestra III, Vol. 16, 1994.

The Shepherd (Catalogue No.110) is published in theCanadian Musical Heritage Society Historical Anthology,Songs IV, Vol. 14:

Canadian Musical Heritage SocietyP.O Box 53161, Ottawa, Ont. K1N 1C5

www.cmhs.carleton.ca

The Prairie Lily (Catalogue No.108) is published by TheFrederick Harris Music Co. Limited, Voice RepertoireSeries – Voice Repertoire 4:

The Frederick Harris Music Co. LimitedUnit 1, 5865 McLaughlin Rd.Mississauga, Ont. L5R 1B8

www.Frederickharrismusic.com

Algonquin Symphony (Catalogue No.57), SaskatchewanLegend (No.68), Serenade Concertante (No.69) areavailable only at:

Counterpoint Musical Services2560 John St., Unit 24Markham, Ont. L3R 2W6

[email protected]

Toccatina for Piano (Catalogue No.130) is published inMusic by Canadian Composers, “Horizons” – Bk.1,Waterloo Music Co., 1974.

Six early works are located in the Music Library of theUniversity of Saskatchewan. Some are missing parts,information as to date of composition, and others areautographs. Some seem to be arrangements by Adaskin ofclassical compositions made during the days when hisToronto Trio played at the Royal York Hotel:

An Eriskay Love Lilt (no date). Orchestral parts inautograph: flute, oboe, Bb clarinet, horns in F, trumpetsin Bb, trombones, percussion, strings.

The Bee (no date, Franz Schubert), arranged by Adaskinfor violin, cello, and piano.

Etude No.3 (1942, from 24 Etudes and Caprices Op. 35by Jacob Dont), arranged for violin and piano.

Never Forever (no date, solo voice and piano.) Words by John Adaskin. Originally published by Gordon V.Thompson, Ltd.

Sweet and Low (no date, Joseph Barnaby), arranged forviolin, cello and piano.

Back the Attack (1943) for chorus. Words written by JohnMurray Gibbon. Composed for the fund raising drive“Victory Loan Campaign” to assist the sale of bonds forthe World War II effort. (This composition does not seemto have survived. Information is obtained from TheMontreal Gazette, April 19, 1943).

A number of university libraries have collections ofAdaskin’s musical scores. These include:

The University of Victoria, Victoria, B.C.(250) 721-7211 www.uvic.ca

Simon Fraser University, Vancouver. B.C.(604) 291-3111 www.sfu.ca

The University of Saskatchewan, Saskatoon, Sask.(306) 966-4343 www.usask.ca

The University of Regina, Regina, Sask.(306) 585-4111 www.uregina.ca

Brock University, St. Catharines, Ont.(905) 688-5550 www.brocku.ca

Brandon University, Brandon, Manitoba(204) 728-9520 www.brandonu.ca

The University of Western Ontario, London, Ont.(519) 661-2111 www.uwo.ca

The University of Lethbridge, Lethbridge, Alberta (403) 320-5700 www.uleth.ca

Mills College, Oakland, California (510) 430-2255 www.mills.edu

Indiana University, School of Music (812) 855-1583 www.music.indiana.edu

The National Library of Canada is the repository of muchof Adaskin’s music and archive:

National Library of CanadaOttawa, Ont. K1A ON4

(819) 996-2300 [email protected]


http://www.cmhs.carleton.ca

http://www.uvic.ca

http://www.sfu.ca

http://www.usask.ca

http://www.uregina.ca

http://www.brocku.ca

http://www.Frederickharrismusic.com

http://www.brandonu.ca

http://www.uwo.ca

http://www.uleth.ca

http://www.mills.edu

http://www.music.indiana.edu

mailto:[email protected]



98

A P P E N D I X CS O U R C E S O F B I O G R A P H I C A L I N F O R M AT I O N O N M U R R AY A D A S K I N

Much biographical information on the composer isavailable in the public domain. Some of these sources arelisted below:

The Canadian Music Centre web pagewww.musiccentre.ca

Encyclopedia of Music in Canada, Eds. Helmut KallmannGilles Potvin, Kenneth Winters, University of TorontoPress, 1992.

Interview conducted by Bryan N.S. Gooch, in Anthologyof Canadian Music, ACM 23, Vol.1A.

Adaskin documentary produced and presented by EitanCornfield in Canadian Composers Portraits/Portraits deCompositeurs Canadiens, CM CCD 8102 (2002) “MurrayAdaskin”, CD 1.

The Canadian Broadcasting Corporation presented atwo-hour broadcast, “Profile of Murray Adaskin at 65”in 1971, and a six-hour broadcast “Murray Adaskin – ACanadian Music Retrospective”, in 1989.

Toronto radio station CJRT-FM broadcast a week-long“Murray Adaskin Retrospective” in 1993.

A number of cassette tapes of interviews of MurrayAdaskin made in 1983 and ’84 by Gordana Lazarevichhave been sent to the Adaskin archive in the NationalLibrary of Canada.

In addition, there are two books documenting thecomposer’s life:

Gordana Lazarevich, The Musical World of Frances Jamesand Murray Adaskin, University of Toronto Press, 1988.

Kathleen Niwa, The Adaskin Art Collection: An Exhibitionat the Maltwood Museum and Gallery, University ofVictoria, University of Victoria, 1988.


99

Biographies

Dr. Gordana Lazarevich is professor of Musicology in the School of Music,

University of Victoria. She is a former Director of the School of Music and has just

recently completed her term as Dean of the Faculty of Graduate Studies at the

University of Victoria. She is a widely published scholar of the eighteenth-century

comic Italian musical theatre. Her articles, books, and record reviews, monographs,

and critical editions have been published in such sources as Musik in Geschichte

und Gegenwart (Bärenreiter Verlag, Kassel Germany), Analecta Musicologica and

Concentus Musicus (Laaber Verlag, Germany), The Complete works of Giovanni

Battista Pergolesi (Pendragon Press, New York), the Canadian University Music

Review, and by such publishing houses as W.W. Norton (New York), MacMillan

(New York), and Henle Verlag (Vienna).

Her book, The Musical World of Frances James and Murray Adaskin was published by

the University of Toronto Press in 1988, and A Celebration of Canada's Arts, 1930-

1970 (co-edited with Dr. Glen Caruthers) was published by Canadian Scholars' Press

in 1996.

Mr. Robyn Cathcart, from Glace Bay, Cape Breton, N.S. received his B.Mus (voice)

from Mt. Allison University and is currently completing his M.A. in Musicology at

the University of Victoria. An active performer and pedagogue, he has appeared and

coached for the stage (musical theatre and opera) in over 75 productions across

Canada. He is a member of the voice faculty at the Victoria Conservatory of Music.

His areas of vocal specialization include technique and interpretation, movement

and body alignment incorporating the Alexander Technique and yoga practices.

His academic interests include 19th and 20th-century vocal pedagogy, American

musical theatre, and folklore/folk music.

Mr. Cathcart is editor of the Fermata journal, a University of Victoria graduate

music student publication.

Documents

to view Murray Adaskin