From “the loveliest apocalypse in musical history” to a meditation on birdsong, the VSO’s 6th Annual New Music Festival explores the state of our world today during four days of musical discovery.

FESTIVAL PASS (Includes Jan 17, 18, 19):    

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$60 reg/$24 student

Festival Pass purchasers are eligible for a 25% discount to the January 16 Early Music Vancouver performance at Christ Church Cathedral: please call us for bookings (discount not available online)

 

January 16

EARLY MUSIC VANCOUVER PRESENTS:
NEW MUSIC FOR OLD INSTRUMENTS

VSONMF begins January 16th with a collaboration with Early Music Vancouver who present Grammy-nominated New York Polyphony a cappella vocal quartet in Missa Charles Darwin by Gregory Brown (brother of famed “Da Vinci Code” author Dan Brown).

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January 17

STANDING WAVE PRESENTS: DEEP GROOVE

From the playful to the profound, Deep Groove showcases the Standing Wave Ensemble in cutting edge music by six of today’s most forward-thinking composers: Indigenous Instruments by Steven Mackey (lauded by Gramophone for his “explosive and ethereal imagination”); Jared Miller’s Leviathan, evoking the oceanic depths inhabited by humpback whales; Stone’s Throw by VSO Composer-In-Residence Jocelyn Morlock, inspired by Ann Southam’s Glass Houses; Christopher Mayo’s Oh Come Now! There is a Beautiful Place!, an arrangement of Reinhold Glière’s Symphony 3 in B minor; Icelandic composer and electric guitarist Hafdís Bjarnadóttir’s Woodstock Revisited; and the world première of Marcus Goddard’s Pool of Lost Grooves.

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January 18

VSO PLAYS NICOLE LIZÉE & VIVIER: LONELY CHILD

“A brilliant musical scientist, Lizée’s madness is as steeped in method as any traditional classical composer, but she’s all about discovering the unimaginable.” (CBC Music)

Claude Vivier’s beautiful, ethereal Lonely Child – a piece drawing from the Balinese gamelan tradition that was, according to the composer, “a long song of solitude” – is paired with the world première of “breathtakingly inventive” Canadian composer Nicole Lizée’s Perxploitation, an intensely difficult and wildly imaginative multimedia work showcasing the talents of VSO Principal Percussionist Vern Griffiths. The concert closes with Henri Dutilleux’s Symphony No. 2, Le Double, which splits the orchestra in two and explores Baroque rhythms and structures.

Come early at 6.30pm for a panel featuring the artists, and join us after the concert for drinks and discussions in the Westcoast Energy Hall, with vibe supplied by DJ Michael Red.

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January 19

VSO PLAYS JOHN LUTHER ADAMS: BECOME OCEAN

“[Become Ocean]…may be the loveliest apocalypse in musical history” -The New Yorker

In a program that draws inspiration from the environment and natural sounds, zoomusicologist Emily Doolittle’s Reedbird – a direct transcription of the fast, bubbly song of the bobolink, slowed and expanded so that human listeners can appreciate its complexity and tonal richness – sees its world première. Jan Sandström’s Ocean Child follows, “a tribute to life, to curiosity and childishness” and “the eternal force of creativity” composed after watching his young daughter play in the ocean for the first time. In the second half, the orchestra takes on John Luther Adams’ Grammy and Pulitzer-prize winning Become Ocean; a piece like nothing else you’ve ever heard, Become Ocean is made up not of melody, harmony, nor even rhythm, but of waves of immense, roiling energy that envelop the orchestra and audience alike in its colossal, unrelenting soundscape. Adams, as always focussing our attention while not forcing any conclusions, had this to say: “Life on this earth first emerged from the sea. And as the polar ice melts and sea level rises, we humans find ourselves facing the prospect that once again we may quite literally become ocean.”

Come early at 6.30pm for a panel featuring the artists, and join us after the concert for drinks and discussions in the Westcoast Energy Hall, with vibe supplied by DJ Michael Red.

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