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A N A N N O TAT E D C ATA L O G U E O F H I S M U S I C
M U R R AY A D A S K I N : A N A N N O TAT E D C ATA L O G U E O F H I S M U S I C
MURRAY ADASKIN
Gordana Lazarevich and Robyn Cathcart
A Unison of Life, Music and the Man
M U R R A Y
A D A S K I N
AN ANNOTATED CATALOGUE OF HIS MUSIC
A Unison of Life, Music and the Man
By
Gordana Lazarevich
Robyn Cathcart
Dolce Publications, Victoria, B.C. 2003
© 2003, Gordana Lazarevich, School of Music, University of Victoria.
All rights reserved. Reproduction of illustrations or text for commercial purposes is
forbidden. The catalogue, however, may be downloaded, printed, or copied for
educational and performance purposes. No changes to the catalogue are permitted.
National Library of Canada Cataloguing in Publication
Lazarevich, 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, 1975II. 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.
In memory of Murray Adaskin (1906 – 2002)
The composer at 86
Reprinted with the permission of Marten Bot, photographer
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.
CONTENTS
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
The Catalogue 19
I Band 20
II Chamber works 21
III Compositions for two instruments
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
17
33
83
Appendix A
Recordings of the compositions of Murray Adaskin
93
Appendix B
Publications of the musical scores of Murray Adaskin
Appendix C
Sources of biographical information on Murray Adaskin
Author biographies
99
1
97
98
I L L U S T R AT I O N S
Catalogue Number • Caption
1
2
3
4
5
7
9
10
14
15
16
18
21
23
24
30
31
32
36
37
40
41
43
44
46
48
The composer and the Adaskin String Trio. Left to
right: Steve Larson, Mark Fraser, and Emlyn Ngai
50 “The Adaskin Years” brochure; Murray and Frances
Adaskin with University of Victoria President
Howard Petch upon the conferral of honorary
doctorates, 1984 (See colour plate IX.)
52 The Adaskin brothers: Harry, Lesley, Murray and
John, a rare photo of the four of them together
53 The M/V Askov; The composer with Ann and
Harlan Pedersen
54 Page from a program of “Quartet Fest West”
57 Painting of Taylor Statten by Gordon Wetmore,
hanging in the Camp Ahmek dining hall
58 Adaskin in a composition lesson with Darius
Milhaud
59 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. The
Adaskin 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, 1951
65 Two frames of the composer as Charlie Chaplin
67 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 14.3
cm. Private collection.
73 Ceramic rendition of the “Musicians of Bremen”,
Last page of the autograph score of The Travelling
Musicians
75 Ethnic poem-drawing by Sarain Stump
80 The composer and Rondalee Ravicchio,1993
83 Andrew Dawes
85 The composer on his 90th birthday
88 Vocalise for Solo Bb Clarinet, manuscript page
94 Programme of the CMC Anniversary Concert
97 Victor Feldbrill with the composer, 1990s
98-100
“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 Lewis
103 Adaskin in his late teens
104 The composer and Robin Skelton, 1990s
Programme of the premiere of Divertimento No.8
Adaskin, c.1970
Roman Totenberg
Frances James in concert with Louis Crerar at the
Banff Springs Hotel, c.1930
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”. (See colour plate
VII.)
Myfanwy Pavelic, “Portrait of Frances Adaskin” ,
1979, 33.2 x 40.5 cm., pencil and watercolour on
paper. The Adaskin estate. (See colour plate I.)
Paraskeva Clark: “Algonquin Morning, Canoe Lake”
1953, 40.5 x 45.5 cm. Oil on board. The Adaskin
estate. (See colour plate IV.)
The Toronto Trio, 1939. Left to right: Louis Crerar,
piano, Murray Adaskin, violin and Cornelius
Ysselstyn, cello
Rondino for Nine Instruments, autograph of the
first page of the score
Letter of Louis Crerar to the composer; Adaskin’s
response to the letter
Adaskin and Stephen Kolbinson displaying the
Amati instruments
The players of the String Quintet with the
composer: Ann Elliott-Goldschmid, Sharon Stanis,
Gary Karr, Joanna Hood, Pamela Highbaugh Aloni
The Pacific Wind Quintet, 1974: Tim Paradise,
Eileen Gibson, Lanny Pollet, Dick Ely and Jesse Read
James Hunter, Robin Wood and Murray Adaskin
leaving Craigdarroch Castle, the original home of
the Victoria Conservatory of Music
Music Academy of the West, Carpinteria, California.
Murray Adaskin, Charles Jones and Darius Milhaud
Adaskin and Tsuyoshi Tsutsumi sharing an informal
moment
Jacques Israelievitch, Murray Adaskin and Michael
Israelievitch
Murray Adaskin and Louis Crerar in performance
Kendall Taylor, a concert programme
George Zukerman
The composer (1950s) as conductor; The composer
(1949) as student with Darius Milhaud; The
composer (1990s) in the process of re-scoring
Cover of Harry Adaskin’s book, A Fiddler’s Choice:
Memoirs 1938 to 1980, November House, 1982;
Harry and Frances Marr Adaskin
Divertimento No.3, first three measures
White-throated sparrow
Divertimento No.6, autograph page listing the
percussion instruments
2
105 Paraskeva Clark, “Portrait of Frances James”, 1952,
85 x 12cm, oil on canvas.The Adaskin estate.(See
colour 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, paint
and ink, 55.5 x 55.5 cm. The Adaskin estate. (See
colour plate VIII.)
109 “The Lark Ascending” by Philip McCracken, the logo
of AdLar Publications
110 The composer at leisure during his early Banff days
111 Adaskin as pedagogue at the University of
Saskatchewan
120 Cameron Bigge
121 Shandy, the composer’s beloved cat
122 Book cover for the score of Variations on a Theme
of Murray Adaskin
123 Gretchen Bigge
127 Savannah Bigge
C O L O U R P L AT E S
(All numbers refer to the Catalogue entries)
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 of
Canada medal
XI Dallison, Historic poster of the National Arts
Centre Orchestra (See No.62)
XII Final resting place of Frances and Murray Adaskin
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)
3
4
INTRODUCTION
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 “factsof-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
5
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 administrative 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 postuniversity 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 reworkings 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
6
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 crossreferencing 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
7
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 Victoria
Spring, 2003
8
METHODOLOGY AND
A B B R E V I AT 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.
9
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.
10
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
11
ALPHABETICAL LIST OF TITLES
Catalogue Number • Composition Title • Date • Timing
23
56
57
3
76
101
102
100
98
99
58
4
49
104
111
24
36
5
59
37
60
38
39
40
112
61
114
115
116
117
113
118
62
41
42
43
44
Adagio for Cello & Piano (1973) (5’40”)
Adagio for Cello & Orchestra (1975) (5’40”)
Algonquin Symphony (1958) (24’)
Andante for Solo Violin, Flute, Bb Clarinet, Bass &
String Quartet (1964) (7’30”)
An Eriskay Love Lilt for Orchestra (See Appendix
B)
An Ontario Variation for Solo Piano (1980) (3’)
A Simple Tune Without Words for Soprano, Piano
& Percussion (a China Bowl) (1981) (2’)
Autumn Song for Soprano & Bassoon (1965) (5’)
A Wedding Toast for Soprano & Guitar (1996) (3’)
A Wedding Toast for Soprano & Piano (1992) (3’)
A Wedding Toast for Soprano & String Quartet
(1994) (3’30”)
Back the Attack for Chorus (1943) (See Appendix
B)
Ballet Symphony (1951) (26’50”)
Bassoon Quintet for String Quartet & Bassoon
(1977) (21’36’)
Brass Fanfare for a Wedding for Brass Quintet and
Tenor Drum (1981) (1’45”)
Busy for Soprano & Oboe or Violin (1992) (5’)
Calisthenics for Violin & Piano (1968) (3’10”)
Canzona & Rondo for Violin & Piano (1949)
(7’30”)
Capriccio for Piano & Orchestra (1961) (19’)
Cassenti Concertante for Bassoon, Oboe, Clarinet,
Violin & Piano (1963) (9’15”)
Celebration Overture (1953) (9’) (Originally called
Coronation Overture)
Concerto for Bassoon & Orchestra (1960) (14’55”)
Concerto for Orchestra (1990) (29’)
Concerto No.1 for Viola & Orchestra (1991) (18’)
Concerto for Violin & Orchestra (1956) (18’)
Dance for Violin & Piano (1963) (2’10”)
Dance Concertante for Orchestra (1983) (12’20”)
Daydreams for Eb Alto Saxophone & Piano (1971)
(3’)
Daydreams for Bb Clarinet & Piano (1971) (3’)
Daydreams for Two Violins (2000) (3’20”)
Daydreams for Violin & Cello (1982) (3’)
Daydreams for Violin & Piano (1968) (3’)
Dedication for Violin & Piano (1963) (3’10”)
Diversion for Orchestra (“An Entertainment”)
(1969) (8’30”)
Divertimento No.1 for two Violins & Piano (1956)
(11’)
Divertimento No.2 for Violin & Harp (1964)
(4’45”)
45
46
47
1
48
25
26
6
105
77
119
120
50
51
52
121
78
55
122
123
106
27
7
8
9
10
124
63
64
65
11
12
Divertimento No.3 for Violin, Horn in F &
Bassoon (1965) (15’)
Divertimento No.4 for Trumpet & Orchestra
(1970) (11’37”)
Divertimento No.5 for two Guitars & Orchestra
(1980) (11’50”)
Divertimento No.6 for Solo Percussion &
Orchestra (1985) (16’20”)
Divertimento No.7 for two Celli & Piano (1985)
(7’)
Divertimento No.8 for Concert Band (1986) (11’)
Divertimento No.9 for Violin, Viola & Cello (1998)
(8’)
Duo for Viola & Guitar (1996) (17’)
Duo for Viola & Piano (1999) (21’)
Encore for String Quartet & Bassoon (1991) (3’)
Epitaph for Soprano & Piano (1948) (2’)
Eskimo Melodies for Piano (1980) (5’10”)
Essay for Strings for Junior Orchestra (1972)
(5’30”)
Etude No.1 for Piano (1992) (5’45”)
Etude No.3 for Violin and Piano(1942) (See
Appendix B)
Fanfare for 2 Trumpets in Bb, 2 Horns in F, 1 Tenor
Trombone, 1 Tuba, 3 Tenor Drums (1988) (5’30”)
Fanfare for Brass Quintet (1977) (1’)
Fanfare for Orchestra (1970) (4’)
Finki, Where Are You for two Violas (2000) (3’)
Gabrielle for Solo Violin (1997) (6’30”)
Grant, Warden of the Plains – an Opera. Libretto
by Mary Elizabeth Bayer (1966) (58’)
Gretchen for Piano (1992) (3’)
Gretchen at Seven for Violin & Piano (1989)
(2’30”)
Hymn of Thanks for Soprano, Alto or Tenor &
Piano – Solo or Unison Voices (1953) (1’30”)
Impromptu for Violin & Piano (1982) (10’)
In Memoriam – Frances James Adaskin (February
3, 1903 – August 22, 1988) for Flute, Oboe, Clarinet
in Bb, Bassoon, Horn in F, Violins 1 & 2, Viola,
Cello, Bass (1988) (12’30”)
Introduction and Rondo for Piano, Violin, Viola &
Cello (1957) (9’)
In Praise of “Canadian Painting in the Thirties”
for Strings & Piano (1975) (21’)
Jesu, Joy of Man’s Desiring for Violin, Cello &
Piano (1939) (4’30)
Legato and Ricochet for Violin & Piano (1968)
(3’10”)
March No.1 for Orchestra (1950) (3’)
Musica Victoria for two Violins, Cello, Bass &
Piano (2000) (10’)
12
53
2
28
66
54
107
29
13
67
125
79
80
126
14
68
127
69
128
30
31
32
33
81
82
83
84
15
16
17
18
70
71
103
34
72
86
Music for Brass Quintet (1977) (8’)
M/V Askov for Solo Trumpet (1990) (6’30”)
Never Forever (see Appendix B)
Night Is No Longer Summer Soft for High School
Band (1970) (2’50”)
Nocturne for Clarinet & Piano (1978) (10’)
Nootka Ritual for Orchestra (1974) (8’)
Octet for Strings – Fanfare for Eight Celebrities for
two String Quartets (1993) (4’45”)
Of Man and the Universe for Soprano or Tenor,
Violin & Piano (1967) (9’33”)
Pas De Deux and Fugue for two Pianos (1951)
(9’30”)
Piano Quartet for Piano, Violin, Viola & Cello
(1995) (16’30”)
Qalala and Nilaula of the North for Woodwinds,
Percussion, and Strings (1969) (19’)
Quiet Song for Violin & Piano (1963) (2’40”)
Rankin Inlet – Eskimo Song for Piano Four-hands
(1978) (5’10”)
Rondalee for Piano (1993) (5’)
Rondino for Orchestra (1964) (6’30”)
Rondino for Nine Instruments for Flute, Oboe,
Clarinet in Bb, Bassoon, Horn in F & String
Quartet (1961) (4’20”)
Saskatchewan Legend for Orchestra (1959)
(12’50”)
Savannah for Piano (1992) (2’45”)
Serenade Concertante for Orchestra (1954) (7’25”)
Serenade for Strings (1934) (6’45”)
Sonata for Cello & Piano (1981) (16’15”)
Sonata for Violin & Marimba (“Padre e Figlio”)
(2000) (19’)
Sonata No.1 for Violin & Piano (1946) (15’)
Sonata No.2 for Violin & Piano ((1987) (12’)
Sonata for Piano (1950) (9’10”)
Sonata No.1 for Solo Violin (1996) (12’30”)
Sonatine Baroque for Solo Violin (1952) (9’50”)
Sonatine Baroque for Solo Viola (1999) (9’50”)
String Quartet No.1 (1963) (22’37”)
String Quartet No.2 (“La Cadenza”) (1994)
(29’20”)
String Quartet No.3 (“I Tre Vecchi Amici”) (1998)
(27’33”)
String Quintet for String Quartet & Contra Bass
(1995) (20’50”)
Suite for Orchestra (1948) (15’)
Suite for Strings (1949) (15’)
Sweet and Low (no date) for Violin, Cello, and
Piano (See Appendix B)
The Bells of Old England (1940s) for Soprano,
Alto, or Tenor Voice & Piano (2’)
T’Filat Shalom – A Prayer for Peace for Violin &
Piano (1974) (6’45”)
T’Filat Shalom – A Prayer for Peace for Violin &
Orchestra (1986) (6’45”)
T’Filat Shalom – A Prayer for Peace for Solo Violin
(2000) (6’45”)
108
109
110
73
74
75
85
129
130
19
20
87
35
88
89
90
91
92
93
94
95
96
131
21
22
97
13
The Bee for Violin, Cello and Piano. (No date.)
(See Appendix B)
The Prairie Lily for Soprano Solo or Unison Voices
and Piano (1967) (2’15”)
The Secret for Soprano & Oboe or Violin (1992)
(5’30”)
The Shepherd for Soprano & Piano (1934) (1’40”)
The Travelling Musicians for Narrator/Singer
(Soprano or Tenor) & Orchestra (1983) (25’) Text
by P.K. Page
(Soprano or Tenor) & Chamber Orchestra (1997)
(25’) Text by P.K. Page
There Is My People Sleeping for Orchestra (1970)
(12’) (5’)
Thirds and Octaves, Etcetera for Solo Piano (1996)
(5’)
Three Tunes for Strings for Junior Orchestra
(1976) (12’)
Toccatina for Piano (1971) (2’50”)
Trio for Flute, Cello & Piano (1970) (17’30”)
Trio for Violin, Cello & Piano (1999) (17’30”)
Two Pieces for Viola da Gamba (1972) (9’15”)
Two Portraits for Violin & Piano (1973) (13’)
Variations on a Theme of Murray Adaskin (see
Gretchen, No.122)
Vocalise No.1 for Solo Bb Clarinet (1989) (6’30”)
Vocalise No.1 for Solo Flute (1990) (6’30”)
Vocalise No.1 for Solo Viola (1990) (6’30”)
Vocalise No.1 for Solo Violin (1992) (6’30”)
Vocalise No.2 “In 5/4 Time” for Solo Bassoon
(1994) (4’)
Vocalise No.2 “In 5/4 Time” for Solo Cello (1994)
(4’)
Vocalise No.2 “In 5/4 Time” for Solo Bb Clarinet
(1994) (4’)
Vocalise No.2 “In 5/4 Time” for Solo Viola (1996)
(4’)
Vocalise No.2 “In 5/4 Time” for Solo Violin (1996)
(4’)
Waltzling for Piano (1995) (1’30”)
Woodwind Quintet No.1 (1974) (13’30”)
Zelda for Solo Violin (1996) (9’45”)
CLASSIFIED LIST OF COMPOSITIONS
I
II
III
IV
V
VI
VII
VIII
IX
X
XI
14
Band
Chamber Works
Compositions for two Instruments
Concerti for Solo Instruments and Orchesta
Divertimenti
Fanfares
Opera
Orchestral Works
Solo Instruments
Vocal Works
Works for Beginner, Intermediate and
Advanced Performers
128
15
16
17
18
19
20
21
22
Catalogue Number • Composition Title • Date • Timing
I
III
II
Compositions for Two Instruments
23
24
Adagio for Cello & Piano (1973) (5’40”)
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’)
34 T'Filat Shalom – A Prayer for Peace for Violin &
Piano (1974) (6’45”)
35 Two Portraits for Violin & Piano (1973) (13’)
Band
1
2
Clarinet in Bb, Bassoon Horn in F & String Quartet
(1961) (4'20")
Serenade for Strings (1934) (6’45”)
(29’20”)
String Quartet No.3 (“I Tre Vecchi Amici”) (1998)
(27’33”)
(1995) (20’50”)
Divertimento No.8 Concert Band (1986) (11’)
Night Is No Longer Summer Soft for High School
Band (1970) (2’50”)
Chamber Works
3
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
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 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")
IV Concerti for Solo Instrument &
Orchestra
36
37
38
39
40
V
41
42
14
Capriccio for Piano & Orchestra (1961) (19’)
Concerto for Bassoon & Orchestra (1960) (14’55”)
Concerto for Violin & Orchestra (1956) (18’)
Divertimenti
Divertimento No.1 for two Violins & Piano (1956)
(11’)
(4’45”)
43
44
45
46
47
1
48
Bassoon (1965) (15’)
(1970) (11’37”)
Divertimento No.5 for two Solo Guitars &
Orchestra (1980) (11’50”)
Orchestra (1985) (16’20”)
Divertimento No.7 for two Celli & Piano (1985)
(7’)
Divertimento No.8 for Concert Band (1986) (11’)
Divertimento No.9 for Violin, Viola & Cello (1998)
(8’)
70
71
72
Suite for Orchestra (1948) (15’)
Suite for Strings (1949) (15’)
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
75 There Is My People Sleeping for Orchestra (1970)
(12’)
IX
VI Fanfare
49
50
51
52
53
54
76
77
78
79
Brass Fanfare for a Wedding for Brass Quintet and
Tenor Drum (1981) (1’45”)
Fanfare for 2 trumpets in Bb, 2 horns in F, 1 tenor
trombone, 1 tuba, 3 tenor drums (1988) (5’30”)
Fanfare for Orchestra (1970) (4’)
80
81
82
83
84
85
86
VII Opera
55 Grant, Warden of the Plains (1966) (58') Libretto
by Mary Elizabeth Bayer
87
88
89
90
91
92
VIII Orchestral Works
56
57
58
59
60
61
62
44
45
46
63
64
65
66
67
68
69
Adagio for Cello & Orchestra (1975) (5'40")
Algonquin Symphony (1958) (24')
Ballet Symphony (1951) (26'50")
Celebration Overture (originally called Coronation
Overture) (1953) (9')
Concerto for Orchestra (1990) (29')
Dance Concertante for Orchestra (1983) (12’20”)
(1969) (8’30”)
(1970) (11’37”)
Divertimento No.5 for two Solo Guitars &
Orchestra (1980) (11’)
Orchestra (1985) (16’20”)
Nootka Ritual for Orchestra (1974) (8’)
Percussion & Strings (1969) (19’)
Saskatchewan Legend for Orchestra (1959)
(12’50”)
Serenade Concertante for Orchestra (1954) (7’25”)
93
94
95
96
97
An Ontario Variation for Piano (1980) (3’)
Eskimo Melodies for Piano (1980) (5’10”)
Rankin Inlet - Eskimo Song for Piano Four-hands
(1978) (5’10”)
Sonata for Piano (1950) (9’10”)
Sonata No.1 for Violin (1996) (12’30”)
Sonatine Baroque for Violin (1952) (9’50”)
Sonatine Baroque for Viola (1999) (9’50”)
Thirds and Octaves, Etcetera for Piano (1996) (5’)
T’Filat Shalom – A Prayer for Peace for Solo
Violin (2000) (6’45”)
Vocalise No.1 for Solo Bb Clarinet (1989) (6’30”)
Vocalise No.2 "In 5/4 Time" for Solo Bassoon
(1994) (4’)
Vocalise No.2 "In 5/4 Time" for Solo Cello (1994)
(4’)
Vocalise No.2 "In 5/4 Time" for Solo Bb Clarinet
(1994) (4’)
(4’)
(4’)
Zelda for Violin (1996) (9’45”)
X
Vocal Works
102
103
Autumn Song for Soprano & Bassoon (1965) (5’)
The Bells of Old England for Soprano, Alto or
Tenor Voice & Piano (1940s) (2’)
Busy for Soprano & Oboe or Violin (1992) (5’)
Hymn of Thanks for Soprano, Alto or Tenor &
Piano – Solo or Unison Voices (1953) (1’30”)
Violin & Piano (1967) (9’33”)
and Piano (1967) (2’15”)
104
105
107
108
15
Solo Instruments
109
110
73
74
101
100
98
99
(5’30”)
The Shepherd for Soprano & Piano (1934) (1’40”)
The Travelling Musicians for Narrator / Singer
(Soprano or Tenor) & Orchestra (1983) (25’). Text
by P.K. Page
(25’). Text by P.K. Page
Simple Tune Without Words for Soprano, Piano &
Percussion (a China Bowl) (1981) (2’)
A Wedding Toast for Soprano & Guitar (1996) (3’)
A Wedding Toast for Soprano & Piano (1992) (3’)
A Wedding Toast for Soprano & String Quartet
(1994) (3’30”)
117
118
119
120
121
122
123
124
125
XI
Works for Beginner, Intermediate and
Advanced Performers
111
Calisthenics for Violin & Piano (Intermediate &
Advanced Violinist) (1968) (3’10”)
Dance for Violin & Piano (Intermediate &
Advanced Violinist) (1963) (2’10”)
Daydreams for Violin & Piano (Intermediate &
Advanced Violinist) (1968) (3’)
Daydreams for Eb Alto Saxophone & Piano
(Intermediate & Advanced Saxophonist) (1971) (3’)
Daydreams for Bb Clarinet & Piano (Intermediate
& Advanced Clarinettist) (1971) (3’)
Daydreams for Two Violins (Intermediate &
Advanced Violinists) (2000) (3’20”)
112
113
114
115
116
80
126
127
128
129
130
131
16
Daydreams for Violin & Cello (Intermediate &
Advanced Performers) (1982) (3’)
Dedication for Violin & Piano (Intermediate &
Advanced Violinist) (1963)(3’10”)
Essay for Strings for Junior Orchestra (1972)
(5’30”)
Etude No.1 for Piano (Advanced Pianist) (1992)
(5’45”)
Finki, Where Are You for two Violas (Beginner
Violists) (2000) (3’)
Gretchen for Piano (Intermediate & Advanced
Pianist) (1992) (3’)
Gretchen at Seven for Violin & Piano (Intermediate
& Advanced Violinist) (1989) (2’30”)
Legato and Ricochet for Violin & Piano
(Intermediate & Advanced Violinist) (1968) (3’10”)
Quiet Song for Violin & Piano (Beginner Violinist)
(1963) (2’40”)
Rondalee for Piano (Advanced Pianist) (1993) (5’)
Rondino for Orchestra (Junior Orchestra) (1964)
(6’30”)
Savannah for Piano (Intermediate Pianist) (1992)
(2’45”)
Serenade Strings for High School String Orchestra
(1934) (6’45”)
(1976) (12”)
Toccatina for Piano (Beginner Pianist) (1971)
(2’50”)
Waltzling for Piano (Intermediate Pianist) (1995)
(1’30”)
ALPHABETICAL LIST OF COMPOSITIONS
BY DECADE
Decade • Catalogue Number • Composition Title • Date •
Timing
113
118
62
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”)
42
43
55
1940s
24 Canzona & Rondo for Violin & Piano (1949)
(7’30”)
105 Epitaph for Soprano & Piano (1948) (2’)
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’)
124
64
107
125
67
126
14
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”)
15
108
Daydreams for Violin & Piano (1968) (3’)
Dedication for Violin & Piano (1963) (3’10”)
(1969) (8’30”)
(4’45”)
Bassoon (1965) (15’)
Grant, Warden of the Plains – an Opera (1966)
(58’). Libretto by Mary Elizabeth Bayer
Legato and Ricochet for Violin & Piano (1968)
(3’10”)
Violin & Piano (1967) (9’33”)
Quiet Song for Violin & Piano (1963) (2’40”)
Percussion & Strings (1969) (19’)
Rondino for Orchestra (1964) (6’30”)
Clarinet in Bb, Bassoon, F Horn & String Quartet
(1961) (4’20”)
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’)
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”)
17
12
(1976) (12’)
Toccatina for Piano (1971) (17’30”)
Two Portraits for Violin & Piano (1973) (13’)
25
26
6
120
78
122
53
54
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
in 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”)
72 T’Filat Shalom – A Prayer for Peace for Violin &
Orchestra (1986) (6’45”)
88 Vocalise No.1 for Solo Bb Clarinet (1989) (6’30”)
13
130
19
87
35
21
51
80
127
82
84
16
17
18
109
74
85
20
89
90
91
92
93
94
95
96
131
22
97
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’)
Duo for Viola & Guitar (1996) (17’)
Duo for Viola & Piano (1999) (21’)
Encore for String Quartet & Bassoon (1991) (3’)
Etude No.1 for Piano (1992) (5’45”)
Gretchen for Piano (1992) (3’)
Piano Quartet for Piano, Violin, Viola & Cello
(1995) (16’30”)
Savannah for Piano (1992) (2’45”)
Sonata No.1 for Solo Violin (1996) (12’30”)
Sonatine Baroque for Solo Viola (1999) (9’50”)
(29’20”)
String Quartet No.3 (“Tre Vecchi Amici”) (1998)
(27’33”)
(1995) (20’50”)
(5’30”)
(25’). Text by P.K. Page
Thirds and Octaves, Etcetera for Solo Piano (1996)
(5’)
Vocalise No.2 “In 5/4 Time” for Solo Bassoon
(1994) (4’)
(4’)
Vocalise No.2 “In 5/4 Time” for Solo Bb Clarinet
(1994) (4’)
(4’)
(4’)
Waltzling for Piano (1995) (1’30”)
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”)
18
T H E C ATA L O G U E
“It is difficult enough to write music but trying to explain it is even more challenging. 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
19
I
BAND
[1] Divertimento No.8 (concert band)
Premiered February 1970, Saskatoon Centennial
Auditorium, Band Clinic Final Concert, by the ‘A’
Band of the Saskatoon School Music Teachers’
Association. Conductor, Herb Jeffrey, Provincial
Band Consultant at the Department of Education.
Transcription of the bass aria by the same title from
Grant, Warden of the Plains (see No.55).
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 Music
Educators Association.
At the second performance of the composition in
November 1970, Dwaine Nelson, Director of Bands
and Wind Ensembles, University of Saskatchewan,
wrote to the composer:
Premiered October 18, 1986, Regina, by the
Honours Band of the Province of Saskatchewan.
Conductor, Howard Cable.
Your recent composition is an excellent
contribution to band music literature…
I am sure that serious musicians serving as
conductors of bands will welcome your work
to their repertoire.
The work is designed to be played by the advanced
high 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 and
Science, instrumental in the appointment of Murray
Adaskin to the University of Saskatchewan.
Dedicated to Björn Hafsteinn, who, in the
composer’s words:
...helped me understand the problems of
scoring for student band. He spent one entire
Sunday afternoon with me checking every
player’s capability. He was of enormous
assistance to me.
Programme of
the premiere of
Divertimento
No.8.
Adaskin,
c.1970
[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 Bowman
Collegiate, for a band clinic in Saskatoon.
20
II CHAMBER WORKS
[3] Andante
Zukerman and the Purcell String Quartet (violins,
Norman Nelson and Joseph Peleg, viola, Phillipe
Etter, and cello, Ian Hampton).
Saskatoon, 1964: one mvt. (7’30”)
Instruments: solo violin, flute, Bb clarinet (doubles
on bass clarinet), string quartet & bass
The premiere performance was recorded at CBC
Vancouver, April 19, 1978, by Zukerman and the
Purcell String Quartet. Executive producer, George
Laverock.
Composed at the request of eminent American
violinist and close friend, Roman Totenberg, to
whom the composer’s Concerto for Violin and
Orchestra is dedicated. Re-scored here for solo
violin and chamber group from Concerto for Violin
& Orchestra (see No.40).
Composed at the Adaskins’ summer cottage, a
“Shangri-La” setting which was the inspiration for
many compositions. (See colour plate III)
No connection exists between this Quintet and the
Concerto for Bassoon and Orchestra (see No.37) –
also composed for Zukerman – other than Adaskin’s
deep affection for the instrument. His main intent
was to “produce a work of inner intensity and
warmth based on an economy of means and
avoidance of redundant virtuoso passages.”
Dedicated to Roman Totenberg.
Roman
Totenberg
Dedicated “to my wife, Frances James, celebrating
our 47th wedding anniversary.”
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 was
expressly written for Vancouver bassoonist George
Frances James in concert with Louis Crerar at the Banff
Springs Hotel c.1930.
21
[5] Cassenti Concertante (bassoon, oboe,
[6] Encore (string quartet & bassoon)
clarinet, violin & piano)
Allegretto
Adagio maestoso – allegro ma non troppo – meno
mosso e tranquillo – tempo II – adagio
Premiered February 24, 1991, Premiere Dance
Theatre Harbourfront, Toronto. Bassoon, Kathleen
McLean, violins, Sonia Visante and Lance Elbeck,
viola, Doug Perry, and cello, David Heatherington.
Commissioned by the Cassenti Players of
Vancouver through a grant from the Canada
Council.
Composed at the request of Robert Aitken, Artistic
Director of the New Music Concerts, on the
occasion of the organization’s celebration of its
20th anniversary, and the Canadian League of
Composers’ 40th anniversary. The Toronto concert
honoured five of Canada’s most vital and senior
composers: Violet Archer, Jean Papineau-Couture,
Barbara Pentland, John Weinzweig, and Murray
Adaskin. With the exception of Pentland, all the
composers were in attendance. The concert named,
“The Challenging Generation”, closed with a cooperative work by the five to commemorate the
occasion.
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 friend
of the composer, Eli Bornstein. The artist, who
started his academic career in the Art Department
at the University of Saskatchewan in 1950
increasingly specialized in the constructed relief
medium. Since 1960, he has been the founder and
editor of The Structurist, a magazine promoting
“free exchange and exploration of a wide variety of
ideas contributing to…growing knowledge of the
process of creation in all fields relating to art.”
Adaskin and Bornstein not only shared a love of
music and art, but also a philosophical bent toward
nature and art.
Each composer’s segment was to last between oneand-a-half and three minutes. In order to create a
connecting link among the five segments which
were to be performed as a single work, Weinzweig
provided the four-note motif F-E-Eb-Db to be used
in any order: melodically, as a chord, or in any
other way. It was to be placed at the end of the
composition as a bridge to the next segment. The
order in which each segment was to be performed
was arranged according to the age of the composer, starting with Papineau-Couture as the
youngest, and ending with Adaskin as the eldest.
The titles of the selections were, LCC Célébration
71 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 the
composer.
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 of
The Structurist, 1906-2002.” (See colour plate VII)
22
The mood of quiet grief is established by the
opening bassoon solo (Allegro moderato). Though
it 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-like
Andante, offers consolation, ending the work with
the 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 Saskatoon
Golden Jubilee Concerts. Violin, Rafael Druian,
viola, Albert Falkove, cello, Robert Jamieson,
and piano, John Simms. This performance was
broadcast on July 29, 1959, on “CBC Festival
Series”, the National network.
Myfanwy Pavelic: Portrait of Frances Adaskin. Pencil and
watercolour on paper, 33.2 x 40.5 cm. 1979. The Adaskin
estate. (See colour plate I.)
The work was originally composed in December
1957 for a competition sponsored by the
Vancouver Festival for the following summer. The
winning composition was to have been performed
by a quartet including Victor Babin and William
Primrose, but the work was not selected.
[7] In Memoriam – Frances James
Adaskin (Feb.3, 1903 – Aug.22, 1988)
Victoria, 1988: one mvt. (12’30”)
Allegro moderato – andante – scherzando –
andante
The Introduction was re-scored from the slow
movement of the Concerto for Violin and
Orchestra (see No.40).
Instruments: flute, oboe, Bb clarinet, bassoon,
F horn, violins 1 & 2, viola, cello and bass
The Introduction and Rondo forms the basis of the
Piano Quartet (see No.13), to which a third
movement – Maestoso – has been added.
Premiered April 30, 1989, at a memorial concert for
Frances Adaskin, PTY Recital Hall, School of Music,
University of Victoria. Performers in order of
instrument listing: Lanny Pollet, Alexandra Pohran,
Betty Harbord, Nancy Hilborn, Richard Ely, Paul
Kling, Paul Culbertson, Jaroslav Karlovsky, Hana
Dedecius, Mary Rannie. Conductor, George Corwin.
The first section is a re-scoring and expansion of
the Allegro moderato from Sonata No. 2 for Violin
and Piano (see No.33). The second section is
quoted in the Andante for the Concerto for
Orchestra (see No.60).
23
profound gratitude and love to you and Fran,
affectionately, Paraskeva.
[9] In Praise of “Canadian Painting in
the Thirties” (strings & piano)
Paraskeva Clark (Lento e cantabile, 5’15”)
Louis Muhlstock (Adagio, 6’19”)
Charles Comfort (Allegretto – tempo giusto, 3’12”)
Charles Comfort was also moved by Adaskin’s
tribute: “This is the greatest compliment ever paid
me for my work of that period.” Louis Muhlstock,
as a token of appreciation, sent the composer a
small sketch (which can no longer be located).
Commissioned through a grant from the Canada
Council by the Chamber Players of Toronto.
Dedicated to Victoria violist and conductor Yariv
Aloni.
Victoria, 1975: three mvts. (21’)
Premiered January 24, 1976, in Toronto by the
Chamber Players, a 15-piece ensemble formed in
1968 and directed by Victor Martin
from the first violin chair.
Paraskeva Clark:
“Algonquin
Morning, Canoe
Lake”, 1953. The
Adaskin estate. (See
colour plate IV.)
[10] Jesu, Joy of Man’s Desiring (violin,
cello and piano)
Although the ensemble performed the
composition with a harpsichord, the
composer’s preference was to use the
piano. The work was written as a
personal tribute to the three artists
who became the Adaskins’ friends
during the Depression era. Their
paintings constituted part of the
exhibition, “Canadian Painting in the
Thirties”, curated for the National
Gallery of Canada by Charles C. Hill,
and shown in Vancouver in 1974.
The composer recollects:
Toronto, 1939: one mvt. (4’30”)
Moderato grazioso
Premiered at Toronto’s Royal York Hotel by the
Toronto Trio. Arranged by Adaskin from J.S. Bach’s
Cantata 147. During the thirteen years that Murray
Adaskin headed The Toronto Trio, playing in the
magnificent dining room of the Royal York Hotel,
his dream was to devote time to composing.
One evening, in 1939, after playing his own
arrangement of Jesu, Joy of Man’s Desiring,
Adaskin was approached by a guest of the hotel,
Hubert J. Foss, founder of the Music Department of
Oxford University Press (OUP), England. When told
that OUP held the rights to this piece Adaskin
assured him that he would no longer play the
composition. Foss said such a gesture would not be
necessary, and instead, offered to publish the work.
A memorandum of agreement
was signed, and the work
was immediately
listed in The
Musical Times as
being available
through OUP.
When I walked in, the first paintings that
greeted us were the works that we had seen a
million times in their original studios…It
conjured up so many memories of the artists
themselves and how we would meet them at
parties…One of them…was C. W. Jefferys,
whose marvellous water colours depicted
scenes from early Canadian history.
(From a 1984 taped interview at the
composer’s home.)
Adaskin indicated that there was no
deliberate intention on his part to
describe his three friends through
the music. The composition was an
expression of his deep affection and
admiration for them. Paraskeva Clark’s
enthusiastic response was recorded in the
following telegram:
In 1993, the
copyright was
officially
returned to the
composer.
Dear Murray, it is terrific, incredible! Music
inspired by painting! You and Mussorgsky’s
Pictures at an Exhibition, each movement
identified by a painter’s name. With my
The Toronto Trio,1939. Left to right: Louis
Crerar, piano, Murray Adaskin, violin and
Cornelius Ysselstyn, cello.
24
[11] Musica Victoria (two violins, cello, bass
& piano)
Music for Brass Quintet is based on a one-and-a
half measure quotation from the opera.
Dedicated to the memory of Edward Johnson.
Adagio maestoso – allegro ma non troppo – meno
mosso e tranquillo – allegro ma non troppo –
adagio
Of Man and the Universe (soprano or tenor,
violin & piano)
Premiered March 18, 2001, by the Thüringer
Salonquintett in the Alix Goolden Performance Hall,
Victoria Conservatory of Music. Violins, Andreas
Hartmann and Egbert Funda, cello, Georg Fritzsch,
bass, Peter Nelson, and piano, Johannes Rainer
Eichhorn.
See No.107
Octet for Strings – Fanfare for Eight
Celebrities (two string quartets)
Adaskin was asked by Musica Victoria (the
International Recital and Chamber Music Society
of Victoria) to write a piece for them. At the same
time, bass player Peter Nelson contacted the
composer from Germany, inquiring about
compositions written by Adaskin that would be
suitable for performance by his ensemble. The
outcome was that Adaskin’s final composition was
written for and premiered by the ensemble, now
performing it in concerts throughout Europe and
the United States.
See No.54
[13] Piano Quartet (piano, violin, viola &
cello)
Victoria, 1995: three mvts. (16’30”)
Maestoso (7’30”)
Andante sostenuto (5’)
Allegro (4’)
Dedicated and given as a gift to Musica Victoria.
Premiered July 31, 1996, Vancouver Chamber
Music 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 Jamie
Kamura Parker.
[12] Music for Brass Quintet
Adagio
Commissioned through the Ontario Arts Council by
Lawrence House of the University of Saskatchewan,
Department of Music for the Toronto Brass Quintet
(trumpets, Lawrence House and Stephen Chenette,
bassoon, George Simpson, trombone, Kenneth
Knowles, and tuba, J. Kent Mason)
The Andante Sostenuto and the Allegro movements
of the Piano Quartet were originally composed in
1957 as Introduction and Rondo (see No.8). In
1995, Adaskin added another movement – the
Maestoso – a suggestion originally made by
American composer Aaron Copland, who, in 1957
thought that the two-movement work would
benefit from the addition of a third movement.
Premiered April 1977 at the opening concert of
the Guelph Summer Festival in Guelph, Ont.,
commemorating the 150th anniversary of the city,
Guelph, Ontario.
Dedicated to Victoria pianist and friend Ewa StojekLupin.
Composed in memory of Guelph-born celebrated
Canadian tenor Edward Johnson (1878-1959), who
excelled in the title role of Debussy’s Pelléas et
Mélisande. Johnson performed the role of Pelléas
at the opera’s premiere on March 21, 1925, at the
Metropolitan Opera in New York City. Adaskin’s
25
Autograph of the first page of the score.
[14] Rondino for Nine Instruments
The instrumentation and length of the piece were
specified by the CBC. Adaskin’s resultant work, in
rondo form, is puckish, with strong rhythmic
impulses, happy and optimistic. Written in the
festive spirit of a carnival, the composition is crafted
to show-off the individual qualities of each
instrument. The intention was to present a rondo
without “any developmental complications.”
Allegro con spirito
Instruments: flute, oboe, Bb clarinet, bassoon,
F horn & string quartet
Commissioned by CBC-TV Toronto for an all-music
telecast.
The work is dedicated to composer Charles Jones,
who taught at the Juilliard School of Music in New
York and who also collaborated with Darius
Milhaud in Carpinteria, California and in Aspen,
Colorado. The dedication is meant to reflect the
inevitable influence of a composer with whom
Adaskin studied occasionally, and admired
enormously.
Premiered on CBC-TV, Toronto, March 25, 1962,
by players from the CBC Symphony Orchestra.
Conductor, Mario Bernardi.
Recorded: ACM 23, Vol. 3
26
[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 Canadian
String Quartet through John Peter Lee Roberts,
programme organizer at the CBC, Toronto.
Adaskin’s response to Crerar’s letter
Premiered March 25, 1963 on CBC’s “Distinguished
Artists Series”, by the Canadian String Quartet
(violins, Albert Pratz and Bernard Robbins, viola,
David Mankovitz, and cello, Laszlo Varga).
Pianist Boris Roubakine was impressed with the
Quartet’s “freshness, joy, imagination and, last but
not least, sincerity.” (letter to the composer April 6,
1963)
Recorded: TAC, Vol.1
Adaskin was somewhat disappointed with the
quality of the premiere performance, as he felt
“that the players hadn’t as yet passed playing
‘notes’ at the time.” Nevertheless, the broadcast
elicited considerable enthusiastic response from
across Canada, exemplified in the following
correspondence between pianist Louis Crerar and
the composer:
In response to a request from the CBC for
descriptive program notes, Adaskin commented:
The String Quartet No.1 was written without
any desire on my part to experiment with the
medium. I used none of the special devices
peculiar to string instruments, but which are
so often used by non string-playing composers. As a string player myself, I find the
over-use of these devices tiresome, and some
times even annoying. I did however, attempt
to write a simple and innocent work for the
most enchanting group of instruments ever
invented, with the hope (and this is very
unpopular these days) that at some moment
during the course of the performance we
might be reminded how pleasant a world this
could be.
Below: Letter of Louis Crerar to the composer.
In a 1992 concert in Convocation Hall, University
of Saskatchewan, the Lafayette String Quartet
performed this work on the Amati instruments
owned by the University. For the composer, who
was present at this performance, it was an overwhelming experience to hear this work interpreted
on the Amati instruments which the University had
purchased in 1958 at his recommendation: “There
was a special joy for me to hear my String Quartet,
which was originally composed in 1963 while I was
at the University of Saskatchewan.”
The acquisition of the 17th-century string
instruments by the University of Saskatchewan has
an interesting history. The two violins, viola and
cello originally made by the Amati family of
Cremona Italy were purchased by the Saskatoon
wheat farmer and amateur musician Stephen
27
[16] String Quartet No.2 (La Cadenza)
Kolbinson, whose passion for chamber music
prompted him to search for these historic
instruments throughout Europe over a three-year
period. It was his wish that the Amati instruments
be owned by the University of Saskatchewan, and
the University eventually did purchase these
precious instruments as a result of Murray Adaskin’s
impassioned interventions.
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 Saskatchewan
through a grant from the Canada Council.
Dedicated to the memory of Emil Mendel (18911963), brother of the well-known Saskatoon arts
philanthropist, and good friend of the Adaskins,
Fred Mendel. The Mendel Art Gallery in Saskatoon
was created as a result of Fred Mendel’s
intervention and support.
Written for and premiered March 13, 1994, by the
LSQ using the Amati instruments, Convocation
Hall, University of Saskatchewan, Saskatoon. Due
to Joanna Hood’s hand injury, Yariv Aloni was a last
minute substitution to
perform the viola part. Both
Adaskin and Hood were
present.
Recorded: TAC, Vol. 1
In Adaskin’s own words:
The quartet players are
using four very beautiful
instruments, and as I
began thinking about
writing my Quartet No. 2
for them, it seemed so
right that each
instrument should be
heard separately. It
naturally followed that I
would compose four
movements, each
containing a cadenza.
Hence the sub-title for
this composition…
In a letter to Dr. Claude
Thompson, University of
Saskatchewan, January 20,
1994, Adaskin says:
While this work has been
an enormous and
challenging undertaking,
it has been an exciting
time for me. I am so
pleased to be
commissioned by the
University of
Adaskin with Stephen Kolbinson (right) displaying the Amati instruments.
28
Saskatchewan, a place so dear to me. To write
for the Lafayette String Quartet and to know
they are playing on the Amati instruments
makes a dream come true. We are so fond of
the LSQ players as individuals and as as
performers, we hold our breath, they play so
beautifully.
Saskatoon artist Eli Bornstein was particularly
impressed by this work, as witnessed in the
following correspondence:
the cadenza in the third movement. Elements from
each of the previous movements are recalled in the
fourth movement, where a cadenza for the first
violin includes some shimmering beautiful
harmonics. Dedicated to his wife Dorothea Larsen
Adaskin on the occasion of her 70th birthday.
While the first movement prominently features the
first violin and the cello – culminating in an
extended cello cadenza – the second movement
abounds in the “Chaplinesque” quality, which had
become Adaskin’s trademark. The second violin,
prominent in this movement, engages in its own
distinctive cadenza, just as the viola takes over in
29
[17] String Quartet No.3 (I Tre Vecchi
[18] String Quintet (string quartet & contra
Amici)
bass)
Moderato (12’50”)
Largo (7’18”)
Maestoso (9’57”)
Grave (6’35”)
Allegro vivo (5’08”)
Premiered November 18, 2000, by the LSQ at the
PTY Recital Hall, University of Victoria. The
performance was recorded by CBC Vancouver.
Written for and premiered by the LSQ and the
world-renowned bassist Gary Karr, March 28, 1996,
PTY Recital Hall, University of Victoria. Recorded
for broadcast by CBC Vancouver.
Between 1954 and 1959 Adaskin composed three
orchestral works: Algonquin Symphony (see No.
57), Saskatchewan Legend (see No.68) and
Serenade Concertante (see No.69).
The String Quintet was performed during a gala
birthday celebration “Murray Adaskin at 90”, as a
work of love by the five musicians whom Adaskin
greatly admired. The slow movement inspired by
Eskimo Melodies (see No.77) was “particularly
marvellous with its sonorities and harmonics – and
as always [abounded in] the transparency of texture
and clarity of form.” (Artist Colin Graham in a note
to the composer) After the performance, Gary Karr
remarked ethusiastically…”it’s the first quintet ever
written that gives the bass an equal voice.”
As the composer was very fond of these three
orchestral pieces, the idea came to him that he
could, in a new way, re-visit them by taking a
movement from each orchestral work and reworking it for four string instruments. Hence String
Quartet No.3, I Tre Vecchi Amici – three old
friends. It was both a great and a rewarding
challenge to write the music for four instruments
that was originally scored for an entire orchestra.
Dedicated to the performers.
Dedicated to Commander US Navy, Andrew and
Mrs. Gemma
Benson. The
Bensons are
enthusiasts of
Canadian music
and dear friends
of the
composer.
The players with the composer. Left to right: Ann Elliott-Goldschmid, Sharon Stanis, Garry Karr, Joanna
Hood, Pamela Highbaugh Aloni.
30
[19] Trio for Flute, Cello & Piano
Canoe Lake, Algonquin Park, 1970: three
mvts. (17’30”)
Lento (7’)
Allegro giusto (5’)
Commissioned by the Alberta Chamber Trio
First played in January 1971, by the Alberta
Chamber Trio (piano, Gloria Saarinen, flute,
Werner van Zweeden, and cello, Talmon
Herz) during their concert tour for the
Jeunesses Musicales of Canada. The players
considered the official premiere to have
taken place February 23, 1972, at the
University of Calgary. Through their
enterprise and initiative, these three artists
have encouraged Canadian composers to
write works specifically for them, thus
adding to the growing repertoire for this
medium.
During a performance of this work at the University
of Western Ontario, Lenore Crawford of the Free
Press reported, on January 31, 1971, that the work
“breathes Canada, perhaps of landscape
infrequently seen or experienced by today’s city
dwellers…” She refers to the “spaciousness, sound
of birds, wind, bells, trees, blowing along the shores
of Canoe Lake” and feels that it “has newness”
within a traditional style of playing.
[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 through
a grant from the Canada Council.
Dedicated, 1996, to Donald and Carolyn Larsen,
the composer’s brother-in-law and sister-in-law.
Premiered January 19, 1975 at the School of Music
of the University of Victoria, by the Pacific Wind
Quintet (as seen in photo, left to right: clarinet, Tim
Paradise, oboe, Eileen Gibson, flute, Lanny Pollet,
horn, Richard Ely, basoon, Jesse Read) which at that
time was ensemble-in-residence at the University of
Victoria.
[20] Trio for Violin, Cello & Piano
Lento (7’)
As with a number of other compositions, Adaskin
has re-voiced the Trio for Flute, Cello & Piano (see
No.19) for the instrumentation above.
Lloyd Dykk, from the Vancouver Sun, was
impressed with the “four-note-figure and its
permutations enclosing a more playful passage to
relieve the seriousness” in the slow movement.
(April 29, 1973)
Dedicated to Gunner Møller Rasmussen and Roma
Engmann, friends of the Adaskins, who reside in
Roskilde, Denmark.
Saskatchewan artist and friend of the composer, Eli
Bornstein, expresses himself most eloquently in the
following letter of March 25, 1975:
31
[22] Woodwind Quintet No.2
Adagio (6’51”)
Adagio (6’22”)
Scherzando (2’45”)
Commissioned for the Ottawa based Bel Canto
Wind Quintet, by the CBC. Producer, Radio Music,
Jill La Forty.
Premiered May 8, 1994 in the Canadian Museum
of Nature, Ottawa by the Bel Canto Wind Quintet
(flute, Beverley Robinson, oboe, Angela
Casagrande, clarinet, Joy Skrapek, horn, Elizabeth
Griffiths Simpson, and bassoon, Mark Latouche).
Dedicated to Alfred and Cecelia Larsen, the
composer’s brother-in-law and sister-in-law.
The composition received international exposure
through performances given by the Bergen
Woodwind Quintet, which was chosen to perform
during Bergen’s celebration of its selection as
Europe’s “City of Culture” for the year 2000.
Dedicated to Donald and Margaret Mills, brotherin-law and sister-in-law of the composer .
32
III COMPOSITIONS FOR TWO INSTRUMENTS
Music
Academy of
the West,
Carpinteria,
California.
Left to right:
Murray
Adaskin,
Charles Jones
and Darius
Milhaud.
[23] Adagio for Cello & Piano
Adagio
Commissioned by the Victoria Conservatory of
Music through a grant from the Canada Council.
Premiered February, 1973, Victoria.Cello, James
Hunter, 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).
[24] Canzona & Rondo (violin & piano)
Dedicated to the memory of the composer’s
brother, Leslie Adaskin (1904-1973).
Carpinteria, California, 1949: two mvts. (7’30”)
Canzona – andante (4’10”)
Rondo – allegro giusto (3’20”)
Canzona premiered August 30, 1949 in Santa
Barbara, California. Violin, Murray Adaskin, piano,
Roy Bogas.
Recorded: ACM 23, Vol.2 (the whole composition)
The Canzona was composed in 1949 during the
period of Adaskin’s study with Darius Milhaud at
the Music Academy of the West in Carpinteria,
California.
In the Canzona, we were aiming for the long
line. I remember reading about it in one of
Copland’s books, where he stated that writing
a long line was the goal of every young composer; not everyone was capable of attaining
that goal. It could be that because I was a
violinist, I instinctively thought in terms of the
long singing lines which are manifested in the
Canzona. (Lazarevich, p.142)
The French use the term “la grande ligne” for
music which gives a sense of flow – a sense of
continuity from the first note until the last. Some
months later, Adaskin added a second movement,
a Rondo, for a CBC performance by American
violinist Roman Totenberg. It was aired on February
1, 1950, with Leo Barkin at the piano as part of
the CBC Toronto’s “Wednesday Night” series.
Left to right: James Hunter, Robin Wood and Murray Adaskin
leaving Craigdarroch Castle, the original home of the Victoria
Conservatory of Music.
Dedicated to the eminent American violinist and
close friend of the composer, Roman Totenberg (see
No.3).
33
25] Duo for Viola & Guitar
[28] Nocturne (clarinet & piano)
Moderato (5’)
Larghetto (6’)
Allegretto – andante – allegretto (6’)
Adagio
Commissioned by the International Clarinet
Congress through the Ontario Arts Council.
Premiered January 31, 1997, during a faculty recital
in the PTY Recital Hall, University of Victoria. Viola,
Joanna Hood, guitar, Douglas Hensley.
Premiered August 10, 1978, Toronto. Clarinet,
Stanley McCartney, piano, Mark Widner.
Also arranged for viola and piano (see No.26).
Dedicated to Avrahm Galper, former first clarinet of
the Toronto Symphony Orchestra.
Written for and dedicated to Joanna Hood, violist
with the LSQ.
[29] Pas de Deux and Fugue (two pianos)
Carpinteria California, 1951: two mvts. (9’30”)
[26] Duo for Viola & Piano
Pas de Deux (Slow: 4’30”)
Fugue (5’)
Victoria, 1999: three mvts (21’)
Moderato (7’)
Larghetto (7’30”)
Allegretto – andante – allegretto (6’30”)
Re-scored from the Ballet Symphony (see No.58).
Dedicated to Louis Sherman, violinist and childhood
friend of the composer. Sherman was especially
fond of this piece.
Premiered February 3, 2001, at the PTY Recital
Hall, University of Victoria. Viola, Joanna Hood,
piano, Karen Enns.
A re-scoring of the Duo for Viola and Guitar with
the addition of extended solo sections for the piano
(see No.25).
[30] Sonata for Cello & Piano
Dedicated to Joanna Hood.
Allegro – andante cantabile
Adagio
Scherzando – andantino – adagio - adantino
[27] Impromptu (violin & piano)
Commissioned by Tom Akeley, instructor of cello,
University of Windsor, through the Canada Council.
Premiered October 3, 1981, at the School of
Music, University of Windsor. Cello, Tom Akeley,
piano, Gregory Butler.
Andante – a tempo – piu mosso – tempo primo –
a tempo
Commissioned by Mark Neumann.
Recorded: ACM 23, Vol.5 and TAC, Vol.4
Premiered March 3, 1983, PTY Recital Hall, School
of Music, University of Victoria, by Mark Neumann
during his BMus. graduating recital, with Jonas
Kvarnström, piano.
The Adagio movement was originally composed in
1973 for cello and piano (see No.23). It was
subsequently transcribed for cello and orchestra
(see No.56). The 1981 incarnation of this Adagio
was incorporated into the middle movement of this
three-movement sonata at the suggestion of Tom
Akeley.
Dedicated to Mark Neumann.
Cellist Tsuyoshi Tsutsumi, who recorded the sonata
for The Adaskin Collection, wrote to the composer
34
[31] Sonata for Violin & Marimba (Padre
e Figlio)
Andante (4’)
Andantino (10’40”)
Allegro con spirito (4’20”)
Written at the request of TSO concertmaster,
Jacques Israelievitch, as a composition to be
performed with his son, Michael.
Premiered July 31, 2000, at the Ottawa Chamber
Music Festival. Violin, Jacques Israelievitch, and
marimba, Michael Israelievitch.
Adaskin and Tsutsumi sharing an informal moment.
The sonata is a reworking of earlier compositions in
order to adapt them for the combination of violin
and marimba. The Andante is based on the 1949
Canzona from Canzona e Rondo (see No.24).
The Andantino contains portions of the 1987
Sonata No.2 for Violin and Piano (see No.33) and
the 1990 Concerto for Orchestra (see No.60) The
Allegro con spirito incorporates the entire 1961
Rondino for Nine Instruments (see No.14)
transcribed for violin and marimba.
on September 3, 1995…”the other day I looked at
the piece again, and was impressed again with the
beauty of it. Yes, I would be honoured to record it
next summer, please keep me posted.” Tsutsumi’s
affinity for this composition confirmed its place
within the international cello repertoire.
Dedicated to the memory of the composer’s
brother, John Adaskin (1908-1964).
Dedicated to Jacques and Michael Israelievitch.
[32] Sonata No.1 for Violin & Piano
Toronto, 1946: three mvts. (15’)
Andante (3’20”)
Rondo allegro (5’35”)
Premiered April 17, 1947, Harbord Collegiate,
Toronto. Violin, Murray Adaskin and piano, Louis
Crerar.
Recorded: ACM 23, Vol. 2, and TAC, Vol. 4
Composed while studying with John Weinzweig in
Toronto. The historic premiere, in the Auditorium of
Harbord Collegiate Institute, represented the first
concert of contemporary all-Canadian music and
included works by John Weinzweig, Barbara
Pentland, Harry Somers and Murray Adaskin.
Left to right: Jacques Israelievitch, Murray Adaskin and
Michael Israelievitch.
The work was sponsored by the Ontario
Department of Education at the instigation of
Major Brian S. McCool with the goal of introducing
students to Canadian composers and performers.
35
(Frances James was one of the artists at this
concert.) It met with considerable interest from the
press, and was reviewed by at least five of the
leading local newspapers.
University of Victoria February 12 – March 25, 1988.
The piece is in ABA form, with a double cadenza in
the B section. The piano is heard in the mood of a
puckish dance, and is immediately followed by a
technically brilliant passage exploiting the violin’s
idiomatic features.
Dedicated to pianist Louis Crerar (d.1981) whose
association with the Adaskins spanned three
decades throughout the 1930s, ‘40s and ‘50s.
Crerar was an original member of the Banff Springs
Hotel Trio and later the Toronto Trio at the Royal
York Hotel, both of which were lead by Adaskin as
violinist. When Adaskin moved to Saskatoon in
1952, Crerar assumed leadership of the Toronto
Trio. He also functioned as Frances James’
accompanist in concerts and on radio.
Dedicated to Paul King, “a superb artist and dear
friend”, violinist, pedagogue, and at the time, Director 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 the
occasion of the 41st national convention of the
Zionist 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’s
violin student in Saskatoon. When Adaskin retired
from the University of Saskatchewan to relocate to
Victoria in 1973, Krolik followed his teacher in order
to continue his violin studies and to receive coaching
on T’Filat Shalom in preparation for its premiere.
Murray Adaskin and Louis Crerar in performance.
[35] Two Portraits (violin & piano)
[33] Sonata No.2 for Violin & Piano
Canoe Lake, Algonquin Park and Victoria, 1973:
two mvts. (13’)
Allegro moderato
Allegro moderato ma con brio (6’)
Allegretto (7’)
Premiered February 26, 1988, University of Victoria.
Violin, Paul Kling and piano, Robin Wood.
Commissioned by CBC Toronto for Lorand Fenyves.
Premiered November 19, 1973, CBC radio.Violin,
Lorand Fenyves, piano, Patricia Parr.
Adaskin composed this work forty-one years
following the composition of his first violin sonata.
It was written for his friend and colleague Paul
Kling on the occasion of “The Adaskin Years: A
Celebration of Canada’s Arts”. This extended
festival was sponsored by and held at held the
Recorded: ACM 23, Vol.4
Dedicated to Lorand Fenyves, distinguished Torontobased violinist, and one-time concertmaster of the
Orchestre de la Suisse Romande.
36
I V C O N C E RT I F O R S O L O I N S T R U M E N T S
AND ORCHESTRA
36] Capriccio (piano & orchestra)
character in which the orchestra and the piano
interchange phrases, and a slow middle section
which returns to the theme of the folk song.
Morges, Switzerland, 1961: one mvt. (19’)
Lento – allegro – meno mosso – allegro – andante
semplice – tempo primo – allegro
The piano writing, according to Kendall Taylor, is
“clean textured and effective. Many passages are
quite difficult…but with some exception…all the
difficulties can be mastered with practice.” (August
8, 1962)
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.
In a letter to Toronto pianist Sheila Henig, who was
learning the work for a performance with the CBC
Symphony Orchestra, Adaskin described his use of
the term “capriccio” for this composition, as a piece
in which the composer follows the dictate of fancy
which does not fall into one of the conventional
forms. “Although I hesitate to use the term
’Rhapsody’, I do, however, see a relationship
between my Capriccio and a rhapsody.” (April 12,
1967)
Premiered January 20, 1963 on the CBC national
network, by the CBC Symphony Orchestra.
Conductor, John Avison, piano, Kendall Taylor.
Composed during Adaskin’s sabbatical leave from
the University of Saskatchewan in the Swiss town
of Morges.
As with several of Adaskin’s works, the Capriccio
derives much of its thematic material from the rich
lore of Canadian folk songs. It is based on the
French-Canadian song “Le Petit Rocher” – the
lament of a dying trapper – and is a wistful tune
which hovers mostly around the first three notes of
the scale. The orchestral introduction of the
Capriccio announces the theme of the folk song,
harmonized in the composer’s original style. The
work has alternating sections of scherzo-like
Dedicated to Kendall Taylor.
[37] Concerto for Bassoon & Orchestra
Morges, Switzerland, 1960: three mvts. (14’55”)
Andante semplice (5’05”)
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 Director
of the Overture Concert Association.
Premiered February 5, 1961 by the Vancouver
Symphony Orchestra. Conductor, Irwin Hoffman,
bassoon, George Zukerman.
Recorded: ACM 23, Vol.4, and Canadian
Composers Portraits, Murray Adaskin, 2002, CD 2
The first of two large works composed in Morges,
Adaskin considered the concerto one of his major
compositions to that time. This piece was written
during a year’s sabbatical leave from the University
37
[38] Concerto No.1 for Viola &
Orchestra
of Saskatchewan. The composition was completed
on Christmas day of that year.
It opens with a theme stated in the solo
bassoon with very sparse accompaniment. This
theme is very ingeniously woven into many
variations. The cadenza exploits various
thematic material and ends as the piccolo
comes in with a counter melody using the first
theme. Instruments are added, one at a time,
until the thematic material of the first part is
brought in toward the end of the movement.
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.
The second movement, the Andante, is very
lyrical and beautiful in style, uncomplicated
and easy flowing. There occur abrupt changes
in mood and tempo in the middle section, and
an interplay, mainly between the wind
instruments, but from time to time including
the strings. This movement ends quite simply,
with tranquil string accompaniment in the
higher register.
Premiered August 8, 1995, at the Victoria
International Festival, University Centre, University
of Victoria, with the Victoria Symphony Orchestra.
Conductor, Glen Fast, viola, Rivka Golani.
The following words, written by Ann ElliottGoldschmid 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 beautiful
orchestration, and such gorgeous heart-tugging
harmonies in anything but Shostakovich. Your
Russian background shows through despite your
strong Canadian feelings.
The final movement serves as the greatest
point of departure from the Andante, as its
flashy and colourful character comprises two
short cadenzas, interweaving with brilliant
orchestral flashes, finally climaxing in a
powerful closing section. (H. & E. Schaefer,
VSO Programme Notes, Nov. 9, 1975)
Dedicated to Rivka Golani, champion of both
traditional and contemporary music.
Zukerman and Adaskin remained in contact over
five decades, during which time the artist continued
performing the concerto on his international tours.
On January 2, 1982, Zukerman wrote the composer
about his performance in Brisbane:
[39] Concerto No.2 for Viola &
Orchestra
The audience was warm and responsive. The
orchestra enjoyed the work as much as I did,
and it would have
made you happy
to hear it played
with such fondness
all around. The
[concerto] is still
the major 20thcentury work for
the instrument as
far as I am
concerned.
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.1
for Viola and Orchestra was his only such
composition Adaskin proceeded to re-work his
Concerto for Violin and Orchestra (see No.40),
written forty years earlier into the Concerto No.2
for Viola and Orchestra.
Dedicated to George
Zukerman.
To date, this concerto in its version for viola, has
not been performed.
George Zukerman
38
[40] Concerto for Violin & Orchestra
Premiered April 30, 1956 in Toronto by the CBC
Symphony Orchestra, in celebration of the
composer’s 50th birthday. Conducted by the
composer, violin, Roman Totenberg.
the more elaborate cadenza. The general style can
be described as Neo-Classic in character, projecting
a good-humoured, optimistic mood. Because of the
composer’s special preference for the Andante
movement, and at the request of Roman
Totenberg, Adaskin later re-scored the composition
for flute, Bb clarinet (doubling on bass clarinet),
string quartet & bass, leaving the solo violin part
intact (see Andante, No.3). According to Audrey
Johnson, music critic for the Victoria Times
Colonist, on its 1982 performance with the VSO
the concerto was indicative of Adaskin’s adroitness
and intense musicality in dealing with the various
instruments of the orchestra. (January 26, 1982)
This work is defined by its three contrasting
movements, with the middle movement containing
Dedicated to eminent American violinist and close
friend of the composer, Roman Totenberg.
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
The composer
(1950s) as
conductor.
39
Above: The composer (1949) as student with Darius Milhaud.
Below: The composer (1990s) in the process of re-scoring.
40
V
D I V E RT I M E N T I
Between 1956 and 1998, Murray Adaskin
composed a series of nine divertimenti, all, with the
exception of No.8, featuring various combinations
of solo instruments.
[41] Divertimento No.1 (two violins &
piano)
Canoe Lake, Algonquin Park, 1956: one mvt. (11’)
Allegro moderato
Harry and Frances Marr Adaskin
Commissioned by Harry Adaskin. Written in
celebration of Harry and Frances Marr Adaskins’
ten years of concert-giving at the University of
British Columbia, Vancouver, B.C.
first violin, while his teacher and brother played
second violin.
Dedicated to Harry and Frances Marr Adaskin.
Harry Adaskin was a member of the Hart House
String Quartet (1923–1938), the first formally
organised quartet in Canada, under the patronage
of Vincent Massey. Harry Adaskin was also the first
head of the Department of Music at the University
of British Columbia. Frances Marr, in her own right,
was active on the Canadian scene as a teacher,
chamber musician and accompanist.
Premiered November 20, 1956 at the Vancouver
Art Gallery. Violins, Harry and Murray Adaskin,
piano, Frances Marr Adaskin.
The work is based on the first thematic motif of
Pleyel’s Duet Opus 48 in D Major, which was
taught to Murray by his brother, Harry, his first
violin instructor. This experience prompted the use
of the Pleyel motif as a tribute to Harry. It was a
meaningful occasion in the development of the
composer’s life as a chamber musician to be playing
[42] Divertimento No.2 (violin & harp)
(4’45”)
Allegretto – andante – tempo giusto
Premiered January 17, 1965 in Toronto, by the
father-and-daughter team of Hyman and Erica
Goodman. Hyman Goodman was at that time
concertmaster of the TSO, and his daughter was an
extremely promising seventeen-year-old harpist.
Dedicated to close family friends, Hyman and Erica
Goodman.
41
Symphony Orchestra, conducted by the composer,
trumpet, Lawrence House, colleague from the
University of Saskatchewan Department of Music.
In his files on this work,
WhiteAdaskin leaves us one
throated
of his rare commentaries
Sparrow.
relating to one of his
compositions. He states
that the beginning and
ending motif of the
divertimento is
reminiscent of the
White-throated sparrow…”that spunky little
sparrow whose song is interpreted by New
Englanders as “old Sam Peabody, Peabody,
Peabody”. However, according to Adaskin, in
Algonquin Park – the genesis of this composition –
the song is interpreted as “I love Canada, Canada,
Canada”.
[43] Divertimento No.3 (violin, F horn &
bassoon)
Saskatoon, 1965: three mvts. (15’)
Adagio maestoso (3’50”)
Un poco allegretto e grazioso (3’20”)
Commissioned by the Regina Campus of the
University of Saskatchewan (now the University of
Regina) through a grant from the Canada Council.
Dedicated to Lawrence House.
Premiered May 20, 1965 in Regina to
commemorate the first convocation held at that
institution. Violin, Howard Leyton-Brown, horn,
Mel Carey, and bassoon, Thomas Schudel.
[45] Divertimento No.5 (two guitars &
chamber orchestra)
This work has proven to be popular with many
distinguished instrumentalists, and has had
numerous performances on radio as well as at
public concerts. In Adaskin’s hands this rather
unusual combination of instruments achieves a
surprisingly wide range of expression.
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’s
former composition students, and Peter McAllister
Dedicated to George Zukerman. (For more on
Zukerman, see No.37)
Premiered December 12, 1981 by the Saskatoon
Symphony Orchestra. Conductor, Glen Fast, guitars,
Don Wilson and Peter McAllister.
[44] Divertimento No.4 (trumpet &
This divertimento abounds in jazz-inspired tonal
harmonies and neo-classic rhythms. The scoring has
been described as idiomatic and effective, and
written in a style which is completely accessible to a
general audience.
orchestra)
(11’37”)
Adagio-adagietto-adagio-allegro-scherzandoadagietto-allegro-adagio
A radio review provides further information:
“Adaskin demonstrates a well-developed ability to
access the tonal and expressive capabilities of the
particular instruments…He manages to introduce a
fair degree of virtuosity for the two guitarists, and
at the same time, maintains a rather quiet level of
declamation. The writing for string choir was
Instruments: solo trumpet, 2.2.2.2 – 2.2.0.0. –
timp., perc. – strings
Commissioned by the Saskatoon Symphony
Orchestra through the Cosmopolitan Club.
Premiered August 24, 1971 by the Saskatoon
42
Council, who had earlier asked me specifically
to call him if I required any assistance. When I
did so – asking for assistance with the copying
of parts – I received ‘the royal brush-off’
which upset me terribly. I then called the
Head at the Toronto office of the Canadian
Music Centre for help, but received a similar
result. He subsequently, phoned me to say
that he had found $500.00 which was to be
sent to me for the copying! I told him that I
didn’t want the money – but the assistance of
a professional to copy the parts for me. I did
graciously thank him with a polite refusal –
which from the sounds of it, seemed a great
relief to him!
particularly good here”. (John Whelan, CBC Regina
Radio Review, Dec. 13, 1981)
Dedicated to McGill University artists Duo des
Concertants, André Roy and Marc Deschênes,
who performed this work under composer Bruce
Mather’s direction at a 1993 concert of the
“Ensemble de Musique Contemporaine de McGill”.
The dedication represented Adaskin’s sentiments
about the superior quality of the McGill
performance.
[46] Divertimento No.6 (solo percussion &
orchestra)
As a result the parts were finally written by hand by
the composer. Adaskin, who was by now in the
eighth decade of his life, was deeply hurt by the
Canada Council’s rejection.
Allegro con brio – andante – allegro con brio –
cadenza – allegro con brio
Dedicated to George Corwin, conductor and faculty
member at the University of Victoria School of
Music.
Instruments: solo percussion – 2.2.2.2 – 2.2.1.1 –
strings
Written especially for Vancouver-based percussion
virtuoso Salvador Ferreras, at that time faculty
member at the School of Music, University of
Victoria.
Premiered February 28, 1985 at the University
Centre of the University of Victoria as part of the
Victoria Symphony Orchestra’s “Discovery Series”.
Conductor, George Corwin, percussion, Salvador
Ferreras.
Recorded: Canadian Composers Portraits, Murray
Adaskin, 2002, CD 2
This work, with its focus on the xylophone, allows
the soloist the opportunity to use a variety of
instruments, making this an interesting piece, both
in its musical accessibility, and its visual impact.
The athletic demands on the performer are
considerable, as the piece requires skillful moves
from one instrument to another.
The composer records a personally upsetting
experience with the genesis of this composition:
Salvador applied to the Canada Council for a
commission-grant, which would have taken
care of the copying of parts, but just before
Christmas I heard the news that the grant was
turned down by the jury (so-called!). I phoned
the head of the music section of the Canada
Autograph, listing the percussion instruments.
43
[47] Divertimento No.7 (two celli & piano)
[48] Divertimento No.9 (violin, viola &
cello)
Allegro moderato
Moderato
Commissioned by Ian Hampton on behalf of the
Langley Community Music School, Langley, British
Columbia.
Arranged from Serenade Concertante (see No.69).
Premiered April 10, 1999, by the The Adaskin
String Trio (violin, Emlyn Ngai, viola, Steve Larson,
and cello, Mark Fraser) in Darke Hall, Regina
Conservatory of Music (the old campus of the
University of Regina) with the composer present.
Premiered November 9, 1985 at the Langley
Community Music School. Celli, Ian Hampton and
Susan Round, piano, Arlie Thompson. Performed on
the occasion the School’s third annual Canadian
Music Week, when nine other works by Adaskin
were showcased. The event was part of the Music
School’s education program dedicated to featuring
and performing the works of Canadian
compositions.
Two years prior to this performance, Adaskin had
received a telephone call from a member of a string
trio at McGill University. The three planned to
continue their studies with the Emerson String
Quartet in the United States during the ensuing
two years, and were seeking a name for their
ensemble that was truly Canadian. They asked
permission to use the name “Adaskin String Trio”,
honouring John, Harry, and Murray Adaskin for
their contribution to the arts in Canada. As a high
school student playing in the Regina Orchestra,
Larson had performed in the Concerto for Bassoon
and Orchestra, and recalled that he had liked the
piece instantly. With that experience, and out of
high regard for the Adaskins, the name “The
Adaskin Trio” seemed right for them.
Dedicated to Pamela Highbaugh Aloni, cellist with
the LSQ.
Divertimento No.8 (concert band)
See No.1
The pleasure Murray Adaskin
felt was best reflected in his
response, “my father would
have been so proud”. In turn,
he wanted to show his
appreciation to the Trio, thus
writing a piece and dedicating
it to them.
The composer and the Adaskin String
Trio. Left to right: Steve Larson, Mark
Fraser and Emlyn Ngai.
44
VI
FA N FA R E S
[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 and
Mary Nelson of Saskatoon, on the occasion of the
wedding of their daughter, Victoria. Trumpets,
Lawrence House and Miles Newman, horn, Mel
Carey, tuba, Mike McCawley, trombone, Stewart
Smith, and percussion, Darrell Bueckert – all from
the Music Department at the University of
Saskatchewan.
The composition was Adaskin’s gift to the daughter
of his close Saskatoon friends, the Nelsons.
Murray and Frances Adaskin with
University of Victoria President Howard
Petch upon the conferral of honorary
doctorates, 1984. (See colour plate IX.)
[50] Fanfare
Maestoso
Instruments: 2 trumpets in Bb, 2 horns in F, 1 tenor
trombone, 1 tuba, 3 tenor drums.
Premiered March 4, 1988, University Centre
Auditorium, the University of Victoria, as part of
the celebration, “The Adaskin Years.” Performed by
the 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 in
honouring distinguished visitors to the campus. It is
designated as the University’s official fanfare.
The Fanfare has a built-in spatial element. There are
three percussion players who are placed in different
locations. The score specifies that the first
percussion should be on-stage with the brass
players, and the second and third players should be
in the hall on opposite sides.
The work is based mainly on a rhythmic motif
45
[52] Fanfare for Orchestra
recalled by the composer who first heard it played
by the local band of a tiny village seventy miles
south of Paris where he was studying in 1929. It is
the composer’s gift the University of Victoria in
recognition of its distinguished faculty.
Saskatoon, 1970: one mvt. (4’)
Allegro moderato e nobile – sostenuto – a tempo
2.2.2.2 – 4.3.3.1 – timp., perc. strings
Dedicated to Dr. Howard and Mrs. Linda Petch.
Commissioned by Saskatchewan Centre of the Arts,
Regina for the opening of its Auditorium.
[51] Fanfare for Brass Quintet
Premiered August 20, 1970, Regina Symphony
Orchestra. Conductor, Howard Leyton-Brown.
Commissioned by CBC Winnipeg producer, Tom
Taylor, as a theme for a series of weekly CBC radio
broadcasts called “Festival Celebrations.”
The Fanfare for Orchestra incorporates a Hebrew
tune known to all four Adaskin brothers through
their grandfather, who was a devout Orthodox Jew
and cantor. The tune, with its simple grandeur,
dignity, and magic has haunted Adaskin since
childhood. Thus the Fanfare is written to convey a
mood of a joyous hymn of praise and thanksgiving.
The composer also indicates that it is to “be played
in the style of an overture.”
Unfortunately this score has been lost, and is no
longer available.
Displaying typical Adaskin flair, the
festive opening section features a
rhythmically well-defined section
highlighting the timpani, brass and
strings in alternation with slower,
thoughtful, hymn-like episodes.
Dedicated to Victor Feldbrill,
conductor of the Winnipeg
Symphony Orchestra until 1968,
dear friend, and one of the most
active proponents of Canadian
music.
Left to right: Harry, Leslie, Murray and John. A rare photo of the four brothers together.
46
[53] M/V Askov for Solo Trumpet
Allegro – presto – maestoso – slow waltz – presto
Premiered July 14, 1990, on the occasion of the
christening of Harlan and Anne Pedersen’s boat
M/V Askov, Orcas Island, Washington, with the
composer 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, childhood
friends of the Larsen family, and dear friends of the
composer.
[54] Octet for Strings – Fanfare for
Eight Celebrities (two string quartets)
Maestoso – larghetto – maestoso
Composed especially for the Lafayette and
Penderecki String Quartets.
Premiered July 2, 1993, PTY Recital Hall, School of
Music, University of Victoria, as part of the inaugural season of the Quartet Fest West. LSQ:
Violins, Anne Elliott-Goldschmid and Sharon Stanis,
viola, Joanna Hood, and cello Pamela Highbaugh
Aloni; and the Penderecki Quartet: violins, Piotr
Buczek, Jerzy Kaplanek, viola, Yariv Aloni, and cello,
Paul Pulford, Quartet-in-Residence at Wilfrid
Laurier University.
Above: The M/V Askov. Below: The composer with the
Pedersens.
Started by the LSQ, the resident quartet at the
University of Victoria, “Quartet Fest West” was at
that time a two-week music workshop. Some of the
best string students in North America came to study
47
the art of and perform in string quartets.
Sharon Stanis describes the octet as
having a slower Larghetto section, which
features the players conversationally in pairs
from each quartet. The majestic opening
chords proclaim to all that this is written in
the style of a true brass fanfare…The work is
in modified ternary form, opening with
antiphonal motives between the upper and
lower strings. A flourish of arpeggios gives
way to the lyrical middle section.
Dedicated to the Lafayette and Penderecki String
Quartets.
48
VII
OPERA
[55] Grant, Warden of the Plains
trader, a magnificent hunter, and a rake with
extraordinary Métis charm.
Canoe Lake, Algonquin Park, 1966: an opera in one
act (58’)
Grant was a man of sharp contrasts. Reared as a
Presbyterian, he later became a Roman Catholic. He
began his business life with intense loyalty to the
North West Company, then switched his allegiance
to its arch rival, the Hudson’s Bay Company. In his
youth he was a footloose rascal despised and
harassed by the stolid settlers. But as he matured,
he became a most stable seigneur of his own feudal
estate at Grantown – now St. François Xavier – a
respected Councillor of Assiniboia, a keeper of
peace and guardian of the struggling Red River
Settlement.
Libretto by Winnipeg poet, Mary Elizabeth Bayer.
Based on the book Cuthbert Grant, Warden of the
Plains (McLelland & Stewart, 1963), by Margaret
Arnett McLeod and William Lewis Morton.
2.1.1.1 – 1.1.1.0 – timp., perc., piano – strings
Commissioned by CBC Winnipeg for Canada’s 1967
Centennial celebrations.
Premiered July 18, 1967 in Winnipeg with the CBC
Winnipeg 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 – Paul
Fredette (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. This
production included an all Winnipeg cast.
Cuthbert Grant received his designation “Warden
of the Plains” from Governor-in-Chief of
Rupertsland, George Simpson, who recognized the
young man’s ability and created the position of
guardian of the Red River settlement in 1828.
Simpson assigned large tracts of land to Grant in
order to set up protection for the settlement against
marauding Sioux. In this sense, Grant was very
much the father, protector and provider for the
Red River settlement at the forks of the Red
and Assiniboine Rivers. Historically, he was
overshadowed by Louis Riel, and has not received
his due credit as leader of the Métis.
Grant, Warden of the Plains was one in a series of
radio operas the CBC had commissioned for
Canada’s Centennial as part of a plan to produce a
60-minute opera from each of its major centres.
The text is based on incidents from the life of
Cuthbert Grant (c.1793-1854), a controversial
figure in the early days of the Red River Settlement.
According to Mary Elizabeth Bayer, the opera
…deals with a time in Grant’s life when he is
making a decision about his future. He must
decide whether he will give up his physical
freedom and attach himself to land and
responsibility, whether he will settle down
into married respectability, or what he will do
as a mature citizen of a growing nation. As a
Métis, Grant had many more obstacles to
overcome and much more to contribute. He
faces the need for decision, and makes up his
mind. The opera is a tribute to his courage
and vision – an accolade to a Canadian who
made an enormous contribution to the
development and growth of western Canada.
(from CBC Information Service, July 5, 1967)
Grant was born in Fort Tremblant, a Northwest
Company trading post at Aspen Creek on the
Upper Assiniboine in 1793, the son a fur trader
from Strathspey, Inverness, Scotland, and a Cree
woman. After being orphaned at six, young
Cuthbert stayed on in Canada for two years, until
fur trade tycoon William McGillivray of Montreal
sent him to the Grants in Scotland to be educated,
later bringing him back to Canada to join the
Northwest Company. When he was a poised, vivid
young bon vivant of 19, Grant returned to the
West, where his own people gave him a warm
welcome, and he was much admired as a daring
Cuthbert Grant was a fascinating character. This
portrait is a love story with a most unusual twist to
49
the plot. John Roberts, at the time a CBC Radio
Network Supervisor, Serious Music Department,
described the score as “scintillating”, and the
libretto as “very colourful, employing the dialect of
the time.”
This radio premiere remains the opera’s sole
performance. The following letter, from the Director
of the Canadian Opera Company Herman GeigerTorel, is indicative of the quality of the opera.
Dedicated to the memory of Banff painter Peter
Whyte (1905-1966). Peter and his wife Catharine
Robb Whyte (1906-1979), also a painter, shared
their love of the mountains, music, art, travel, and a
close, caring friendship with the Adaskins.
50
VIII
ORCHESTRAL WORKS
discussing with the Chief a plan to write a
musical work based on the background of Tom
Thomson, the Canadian painter, who spent his
happiest years in Algonquin Park. Besides asking
the Chief what he thought of the idea, I also
asked him whether he could supply me with
copies of “Hiawatha’s Farewell” and the
“Omaha Tribal Prayer”, which I had heard him
use on several occasions at Council Ring. These
tunes seemed eminently suitable to me as basic
material for a work suggesting the atmosphere
and spiritual climate of Algonquin Park, and
Canoe Lake particularly.
[56] Adagio for Cello & Orchestra
Adagio
Premiered August 2, 1976, by the CBC Vancouver
Orchestra. Conductor, John Avison, cello, Talmon
Herz.
Adaskin’s transcription of his Adagio for Cello and
Piano (see No.23).
[57] Algonquin Symphony
The Chief, because of his instinctive and abiding
interest in music, and because he was always a
great source of encouragement to anyone
seeking his advice, immediately responded with
enthusiasm, and offered many interesting and
useful suggestions. He urged me to go ahead
with my plans, and promised to investigate the
possibilities of procuring copies of the two
Indian tunes I enquired about.
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 of
Music, Geoffrey Waddington.
Soon after our arrival in Saskatoon, I received a
letter from Jack Eastaught and another from
Frank Churchley. Both of them contained
manuscript copies of the tunes I wanted. Jack
Eastaught, I believe, wrote out the tunes as he
remembered the Chief singing them, and Frank
Churchley sent me copies he made at the library
in New York City, where he was at the time
working towards his PhD in Music. Churchley
was Director of Music at Camp Ahmek for quite
a few years. [He was to complete his doctorate
in Music Education at Columbia University, and
assume a teaching post at the University of
Victoria.] The manuscripts, contained precisely
what I needed. The reason for this detailed
account is because it describes just one of the
many wonderful qualities that the Chief possessed: any promise given, was as good as done.
Premiered May 26, 1959, by the CBC Symphony
Orchestra. Conductor, Geoffrey Waddington.
Published by Counterpoint Musical Services. (Not
available through the CMC, see Appendix B)
The Algonquin Symphony is the expression of the
composer’s deep affection for the beauty of nature
surrounding Canoe Lake in Algonquin Park as well
as being an expression of friendship and respect
toward Taylor Statten, Director of Camp Ahmek, a
summer camp for boys. A Wesleyan Methodist,
Taylor Statten, and his wife, Ethel, founder of camp
Wapomeo for girls, taught their campers about
Indian lore. This earned the Stattens the nicknames
“Chief” and “Tonakila” respectively. Over the years
and the many summers spent at Canoe Lake, the
Adaskins forged a lasting friendship with the
Stattens.
Shortly after the letters and manuscripts reached
me, we received the sad news of Taylor
Statten’s death, and I knew then that my work
was to be written as a tribute to his memory.
That is, to a distinguished Canadian who had
spent his happiest and most fruitful years in
Algonquin Park.
The composer describes the genesis of the
symphony:
In September 1956, before leaving Canoe
Lake for our home in Saskatoon, I spent an
afternoon at Little Wap [Camp Wapomeo]
51
In spanning the shape and material of my
Algonquin Symphony, which was to be
written in three movements, I decided to use
the first movement as a canvas on which I
would sketch my own personal impressions of
his spiritual characteristics. And if music can
be described as abstract, in the sense that it is
abstracted from nothing concrete, I would use
that word to describe the first movement.
[58] Ballet Symphony
The second movement was to be devoted to
the use of “Hiawatha’s Farewell” – the motif
of the characteristic and lonely cry of the
loon, with a passing reference to the evening
“Hymn of Thanks”, which I had written at
the Chief’s request some years before. This
movement turned out to be in the manner of
a requiem, and in the orchestral score, the
bass clarinet introduces “Hiawatha’s
Farewell”. I had inscribed a text above it,
which reads like this: “Mourn Ye Not for My
Departure, Mourn Ye Not, I go upon a Journey
Forever.” No composer could wish for more
inspiring material with which to work.
3.3.3.3. – 4.3.3.1 – timp., perc., harp, piano –
strings
Carpinteria, California, 1950-51: six mvts. (26’50”)
March
Allegro
Pas de Deux
Fugue
Adagio
Finale (Rondo Allegro)
Premiered March 26, 1952, Massey Hall, Toronto at
the 2nd annual concert of the Canadian League of
Composers, with the Toronto Symphony Orchestra.
Conductor, Geoffrey Waddington.
Carpinteria, housing the
Music Academy of the
West, marks the
location of Adaskin’s
summer composition
studies with Darius
Milhaud. At Milhaud’s
suggestion, Adaskin added
five movements to a
Adaskin in a lesson
previously written March
with Darius Milhaud.
No.1 for Orchestra (see
No.63) in order to create this ballet. Milhaud’s
advice was based on practical considerations that
the work had a better chance of being performed
as a ballet than as a symphony. Adaskin’s attempt
to have it choreographed for and performed by the
Winnipeg Ballet, however, was unsuccessful. One
of the longest of the composer’s works, the Ballet
Symphony culminates in a Finale consisting of a
review and development of themes from previous
sections.
The final movement was to be based entirely
on the material of the “Omaha Tribal Prayer”
which includes the words “Wakonda, a Needy
One Stands Before Thee; I Who Sing, Am
He.” There were also to be passing references
to the sounds of the North, that is, an orchestra of frogs one hears every evening back of
Little Wap, the sound of the woodpeckers, the
Canada bird, and of course, the loon. Because
of my need for contrast, I finally decided to
change the rhythm and mood of the “Omaha
Tribal Prayer”, to a slightly jazzed-up version.
The Algonquin
Symphony is a major
Canadian symphonic
work of the 20th
century.
Since there were no orchestral resources at hand,
Milhaud suggested that two movements – Pas De
Deux and Fugue – be re-scored for two pianos in
order to be performed during this period of study
(see No.29).
Dedicated to the
memory of Taylor
Statten (18821956).
The Ballet Symphony was one of the works
selected to represent Canada at the 1952 Olympics
in Helsinki, Finland. Music constituted part of the
Olympic games, and Adaskin won a certificate of
recognition for this composition.
Painting of Taylor
Statten by Gordon
Wetmore hanging in
the Camp Ahmek
dining hall.
Dedicated to the composer’s brother, CBC radio
producer and cellist, John Adaskin (1908-1964).
52
[59] Celebration Overture
Celebration Overture, in the style of the square
dance, was a tribute to the humanness of that
situation as well as an homage to the new queen.
Because of the dignity of the occasion, the work
was written in fugal form, ending with a melodic
portion of “God Save the Queen” (”Long to reign
over us....”)
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 special
broadcast to celebrate Coronation Week.
Three decades later, Her Majesty The Queen and
His Royal Highness the Duke of Edinburgh visited
Victoria. In honour of that visit the University of
Victoria 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 to
the composer came in the form of a question
asking if it is a difficult piece to play. Responding
with, “Yes, it can be”, the Queen’s response was,
“Isn’t that nice.”
Premiered June 2, 1953, Toronto, CBC Symphony
Orchestra. Conductor, Geoffrey Waddington.
Originally composed as Coronation Overture,
Adaskin changed its title to Celebration Overture
in 1993.
As part of the plans to celebrate the coronation of
Queen Elizabeth II in June 1953, the CBC commissioned works from a number of Canadian composers to commemorate the occasion. While
composers were given total freedom to carry out
their commission, it was hoped that their inspiration
would come from Canadian life and background
while honouring the important historic occasion.
[60] Concerto for Orchestra
Adaskin’s composition was inspired by newspaper
photographs of a visit to Ottawa in 1951 by a
young Princess Elizabeth, as yet unencumbered by
the sceptre of royal responsibilities, square dancing
with Prince Philip in Ottawa’s Rideau Hall. Adaskin’s
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 Victoria
Symphony Orchestra through the
Canada Council for the celebration of
the Symphony’s 50th anniversary.
Premiered November 4, 1990, in
Victoria’s Royal Theatre by the
Victoria Symphony Orchestra.
Conductor, Glen Fast, concertmaster,
Pablo Diemecke.
For two out of the three movements
of the Concerto for Orchestra,
Adaskin revisited the past. The
Allegro con spirito is based on the
1961 Rondino for Nine Instruments
(see No.14). As this was one of the
composer’s favourite works, he
welcomed the opportunity to re-write
it for orchestra, and include it as the
first of a larger three-movement
composition.
The Adaskins greeting her Majesty the Queen.
53
The Andante is based on In Memoriam – Frances
James (see No.7) re-scored for orchestra. In the
third movement, Adaskin reconciled his past with
the present through the use of a hauntingly
beautiful 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 the
composer’s personal life as, after the death of
Frances James, his wife of 57 years, he met
Dorothea 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 a
number of musical ideas from the previous two
movements which appear in truncated and
transformed versions. A fanfare-like motif ends the
work on a triumphant note.
The work is dedicated to Myfanwy Pavelic,
distinguished Canadian painter, whose friendship
meant a great deal to the composer. It was his hope
that “in some small way this music would bring
further attention to her astonishing career”.
Myfanwy
Pavelic.
“Sketch for
Portrait of
Murray
Adaskin”,
1979. Pencil
on paper, 48 x
41 cm.The
Adaskin estate.
(See colour
plate 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 Symphony
Orchestra through a grant from the Canada
Council.
Premiered April 1982, by the Windsor Symphony
Orchestra. Conductor, Laszlo Gati.
The composition spotlights the orchestra’s principal
wind players: the Essex Winds, core members of
the WSO’s wind section, performed in the wind
quintet portions. Dedicated to Laszlo Gati, one-time
conductor of the Victoria Symphony Orchestra.
54
[62] Diversion for Orchestra (An
Mario Bernardi was its first conductor, and JeanMarie Beaudet was the music director of the Arts
Centre. The performers were selected through a
series of auditions and represented a group of
extremely talented musicians. Adaskin’s
Divertimento for Orchestra was the first work
commissioned by the National Arts Centre for the
newly-formed orchestra, and thus occupies an
important position in the cultural history of Canada.
In order to feature the talents of this outstanding
group of performers Adaskin assigned solo passages
to the lead players throughout the composition in
rondo form,
Entertainment)
(8’30”)
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 of
the National Arts Centre.
Premiered October 7, 1969 in Ottawa at the
inaugural concert of the National Arts Centre
Orchestra. Conductor, Mario Bernardi.
…beginning with a flute solo followed by the
oboe in a duet with the bassoon, and ending
with two oboes and two bassoons in a
preview of the double reeds. This is followed
by a solo for the clarinet in the form of a brief
cadenza. The C section features the various
families of instruments, with a marked change
of pace (Vivace) in which this time we hear
the various families of the orchestra, also
providing the listener with an intimate look
into the string family. The timpani heralds the
final return of the A section, in full orchestra,
bringing the work to a close. (Eva M.
Schaefer)
Recorded: ACM 23, Vol. 4 and Canadian
One year prior to Canada’s centennial in 1967,
Parliament passed the National Arts Centre Act,
establishing a corporation to “operate and maintain
the [National Arts Centre], to develop the performing arts in the National Capital Region, and to assist
the Canada Council in the development of the
performing arts elsewhere in Canada” (EMC
p.917). The National Arts Centre Orchestra, created
in 1969 became its resident orchestra, at the time
the only organization in North America to be statesupported. Its goal was to specialize in works of
chamber music proportions from the Baroque,
Classical and contemporary repertoires, and to
present these in cross-country tours. Its home was
the Canadian Arts Centre in Ottawa.
Divertimento No.4 (trumpet and orchestra)
See No.44
Divertimento No.5 (two solo guitars and
orchestra)
Historic
poster by
Ken
Dallison,
1969. (See
colour plate
XI.)
See No.45
Divertimento No.6 (solo percussion and
orchestra)
See No.46
Fanfare for Orchestra
See No.52
55
[63] March No.1 for Orchestra
Toronto, 1950: one mvt. (3’)
Sakatoon, 1953: one mvt.(3’)
Alla marcia
Allegro
3.3.3.3 – 4.3.3.1 – timp., perc., harp, piano –
strings
Commissioned by CBC Toronto for the
“Opportunity Knocks” program.
Commissioned by CBC Toronto for the
“Opportunity Knocks” program.
Premiered March 2, 1953, CBC Radio Orchestra,
Toronto. Conductor, John Adaskin.
Premiered June 19, 1950, CBC Radio Orchestra.
Conductor, John Adaskin. The programme was a
national talent competition sponsored by the CBC
and broadcast from Toronto and Montreal from
1947 to 1957. It was initiated by John Adaskin for
the purpose of discovering young talent among
Canada’s musicians.
Both March No.1 and March No.2 were intended
to function as humorous introductions to the radio
program “Opportunity Knocks” initiated by the
composer’s brother John in 1947. The programme,
which lasted for ten years, was a national talent
show, many of whose winners eventually became
Canada’s major performing artists. (For names of
some of the winners, see EMC p.976)
Dedicated to the composer’s brother, CBC radio
producer and cellist, John Adaskin (1908 – 1964).
Dedicated to nieces Tamar and Susan, daughters of
John and Naomi Adaskin.
Alla marcia – slightly faster – alla marcia – slightly
faster – a tempo
3.2.2.2 – 4.33.1 – timp., perc.– strings (piccolo can
replace ocarina in Bb if the latter is unavailable)
Commissioned by Paul Freeman.
Premiered March 29, 1981 by the Victoria
Symphony Orchestra.
Conductor, Paul Freeman.
The composer shares his thoughts:
Some years ago I wrote two short pieces for
the CBC’s “Opportunity Knocks” radio
orchestra conducted by my late brother John.
I called them March No.1 & 2 – rather
Chaplinesque in mood, and of course no one
could possibly march to them, which was
intentional.
When Paul Freeman expressed the wish that
I compose a March No.3 for the Victoria
Symphony Orchestra’s concert in Duncan,
B.C., on March 28th – my 75th birthday and
A contemporary brochure, 1951.
56
[66] Nootka Ritual
Maestoso
2.2.2.2 – 2.2.2.0 – timp., perc.– strings
Commissioned by Thomas Petrowitz and the
Nanaimo Symphony Orchestra through a grant from
the Canada Council.
Premiered April 7, 1974, Nanaimo Symphony
Orchestra on the occasion of its 25th anniversary.
Conductor, Thomas Petrowitz.
The composer as
Charlie Chaplin.
Although not based on indigenous melodies, the
composer deemed it appropriate to the occasion to
honour the memory of the region’s earliest indigenous people through the title of the composition.
Dedicated to Thomas Petrowitz.
the Duncan Musical Society’s 25th anniversary
– I immediately began work on it. To add to
this general festive occasion, news reached me
that Christoffer Lewis Nohr, an eight-pound,
two-ounce baby boy (the first child of very
dear friends) arrived into the world with
shouts of joy. I decided then and there that
the Coda would contain a “Happy Birthday”
greeting by that magic instrument, the tuba!
[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 players
total)
Tears came to Adaskin’s eyes when, nineteen years
later, he received the note below from Christopher:
Commissioned for CBC Toronto by Supervisor of
Radio Music, John Peter Lee Roberts, on the occasion
of the commemoration of Canada Day, July 1, 1969.
Premiered July 1, 1969, CBC Winnipeg Orchestra as
part of the CBC “Tuesday Night” series. Conductor,
Murray Adaskin, producer, Tom Taylor.
The work was inspired by a visit to Rankin Inlet in
the Canadian Arctic which the composer undertook
with his friend, artist Eli Bornstein, in 1965. Adaskin
found this trip memorable and described the Arctic
as “stunningly, strikingly beautiful.” He used the
opportunity to record songs of some of the Inuit met
on the trip, and was particularly moved by songs
sung by an old couple, Qalala and Nilaula. When
Nilaula sang he spoke of having come as a stranger
to Rankin Inlet; of his loneliness for the familiar
places he left; of how different his new home was,
and then closed with the very powerful line “The
truth of the past is not the truth of the present.”
Adaskin’s trip to the Arctic was prompted by Robert
Williamson, a newly appointed faculty member in
Dedicated to Paul Freeman.
57
the University of
Saskatchewan’s
Anthropology
Department, who, as
a specialist in Inuit
languages, realized
that the oral
tradition was in
danger of being lost.
He urged the
composer to collect,
on tape, some of the
traditional songs of
these Arctic peoples.
[68] Saskatchewan Legend
(12’50”)
Allegro moderato – poco meno mosso – tranquillo –
tempo I
Commissioned by the Golden Jubilee Committee
of the University of Saskatchewan for the
celebration of the University’s 50th anniversary.
Premiered September 27, 1959, by the Saskatoon
Symphony Orchestra. Conductor, Murray Adaskin.
An anonymous carving from
Rankin Inlet. The Adaskin
estate
Published by Counterpoint Musical Services (not
available through the CMC, see Appendix B.)
In providing
program notes for
the performance of this composition, Adaskin
describes the work:
The six-week Saskatoon Golden Jubilee Festival
was motivated by Adaskin, who used the
opportunity of the University’s celebrations to
feature contemporary Canadian and international
music as well as selections from the traditional
repertoire.
The two main tunes, or melodic lines, used in
my piece are from the tapes of Nilaula and
Qalala, now both dead. The Nilaula tune is
heard at the very beginning, and the
contrasting tune heard later – and in fact
several times – is from Qalala. The third
element in the composition comes from an
ancient game which Eskimo women like to
play to amuse themselves, which one might
call “throat rhythms” – nonsense words which
have no meaning, just guttural sounds,
constantly and obstinately repeated as in an
ostinato figure. There are many, many
variations of these rhythms.
The Saskatchewan Legend is based on two
folksongs from the Louis Riel period: “Desjarlais
Reel” and the haunting ballad “Riel Song”
(supposedly written by the revolutionary Métis
leader while in jail) provided by Richard Johnson
from his folk-song collection. Throughout the
work, the tunes recur in varying instrumental
combinations, and are incorporated with original
material by the composer. Rhapsodic in form, this
orchestral sketch is, according to the composer,
“a purely abstract musical legend.”
In playing this “throat rhythm” game, the
women stand close together, holding on
lightly to each other’s elbows with their noses
very close together. Then, one of them starts
off – she’s the leader as it were – as she
established her rhythm. Another gal
follows with her own “throat rhythm”,
and by adding these rhythms they buildup between them quite a sense of
counterpoint which, when they get tired,
stops abruptly and everyone bursts out
laughing! Then another woman will have
a new idea of a different sound and
rhythm, and she will take the lead, as it
were. If they are left alone, or are in the
mood, they invent amazing contrapuntal
devices.
Dedicated to the President of the University of
Saskatchewan, Dr. W. P. and Mrs. Thompson.
Dedicated to John, Christina, and Noel Roberts.
58
[69] Serenade Concertante
incorporated into String Quartet No.3 (see No.17).
Saskatoon, March 28, 1954: one mvt. (7’25”)
Dedicated to Banff painters Peter and Catharine
Whyte, close friends of the Adaskins throughout
more than four decades (see No.55).
Moderato
2.2.2.2 – 2.1.0.0 – strings
Commissioned by the CBC Vancouver Orchestra at
the request of John Avison, the orchestra’s
conductor since 1938.
Premiered April 15, 1954 by the CBC Vancouver
Orchestra. Conductor, John Avison.
Published by Counterpoint Musical Services. (Not
available through the CMC.)
The small size of the orchestra (at first known as
the CBC Vancouver Chamber Orchestra) made it
ideal to sustain a great variety of instrumental
effects within the chamber music medium (25
players originally, increased to 35 in 1952. EMC, p.
232). It was the right size for Adaskin who had
been studying compositions by Mozart at the time.
In his own words:
Peter Whyte, “Banff”, 1927. Oil on board, 19.5 x 14.3 cm.
Private Collection.
[70] Suite for Orchestra
The composition is written in a way that
appealed to me tremendously – especially the
general mood – which was amiability itself,
and so with all that in mind I wrote the
Serenade Concertante. I hope you will find it
amiable, and not without warmth.
Fast
Slowly
Fast (Scherzo)
3.2.2.2 – 4.2.2.0 – timp., perc., harp – strings
Premiered June 22, 1949, Toronto, on the CBC
National Network, CBC Radio Orchestra.
Conductor, Geoffrey Waddington, music advisor to
the English network of the CBC.
According to a critic in the Detroit Free Press, “the
melodic contours are definitely of our time, but the
composer is not loath to employ conventional
means such as ending the entire work with a
textbook resolution.” The same reviewer stated
that the idiom will be recognized by future generations as the “creative genius of the mid-twentieth
century”. (J. Dorsey Calaghan, January 29, 1955)
Recorded: ACM 23, Vol. 2 and Canadian
One of Adaskin’s earliest orchestral compositions,
the Suite has been performed in many parts of the
world. The work would undoubtedly be considered
conservative and tuneful by today’s standards, but
it is interesting to note that after its first broadcast
performance, the composer received the following
telegram, merely signed, “Graham”: “First performance of your work received with revulsion – have
you seen a psychiatrist?”
One of the most frequently performed
compositions of Murray Adaskin, this work has
become a part of the standard repertoire of
Canadian orchestras. It also received international
performances in places such as Detroit, Jerusalem,
Munich, and Mexico City. A favourite piece of
Adaskin’s late wife, Frances James, it was played
so frequently that she dubbed it his “C# minor
Prelude” (alluding to the famous Prelude by
Rachmaninov).
However, the work subsequently earned the
composer a three-summer scholarship to study
composition with Darius Milhaud at the Music
Academy of the West in Carpinteria, California.
Forty-four years later, the Serenade Concertante
was arranged for violin, viola and cello as
Divertimento No.9 (see No.48). It was also
Dedicated to Geoffrey Waddington.
59
[71] Suite for Strings
Peace for Solo Violin & Orchestra
Victoria,1986: one mvt. (6’45”)
Fugue
Ostinato
Finale
Adagio – poco piu moso – a tempo – tempo I
0.2.0.0 – 0.2.0.0 – strings
Premiered July 10, 1950, Vancouver, by the CBC
Vancouver Chamber Orchestra. Conductor, Albert
Steinberg.
Orchestral version of the 1974 composition.
Commissioned by CBC Vancouver producer George
Laverock.
This is the only work written in the twelve-tone
idiom.
Premiered April 28, 1986, by the CBC Vancouver
Orchestra at the Orpheum Theatre. Conductor,
James Fankhauser, violin, Campbell Trowsdale.
Although it elicited considerable interest for
potential international performances from such
conductors as Boyd Neal and Benjamin Britten,
Adaskin, who never felt at ease with the twelvetone idiom, turned them down. He felt that the
twelve-tone idiom was not his true voice as a
composer.
Originally a composition for violin and piano
written in 1974 (see Nos. 34 and 86), this
transcription was intended for a CBC broadcast on
a theme of world peace.
Dedicated to eminent Canadian composer and
Adaskin’s composition mentor, John Weinzweig,
from whom he learned about the fundamentals of
composition, and with whom he maintained lifelong ties. The letter below was written on the
occasion of Adaskin’s death.
[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, Victoria
Symphony Orchestra. Conductor, Paul Freeman,
soprano/narrator, Catherine Fern Lewis.
This delightful work constitutes a significant
contribution to the genre of compositions for
narrator and orchestra (which Prokofiev’s Peter and
the Wolf represents so successfully). The Travelling
Musicians can easily measure up to the best. The
story is based on the Brothers Grimm fable The
Musicians of Bremen in which four animals –
donkey, dog, cat, rooster – whose old age has
rendered them useless to their owners, combine
forces to give their lives a new purpose (see
Lazarevich, pp.249-50). After a series of misadventures which, through unified efforts, they
manage to overcome, the four partners dedicate
their lives to making music as each contributes a
particular talent at making sounds as well as skill at
playing an instrument.
This work is all the more remarkable as it is based
on a poetic narrative by one of Canada’s foremost
60
Top: Last page of the
autograph score of The
Travelling Musicians.
Right: Ceramic rendition
of the “Musicians of
Bremen.”
poets and artists, Victoria-based P.K. Page. Over the
years, she has garnered numerous awards for her
poetry, and has received the Order of Canada.
Unlike other texts in similar narrative genres, that of
The Travelling Musicians is poetry that can stand
on its own merit, as it projects an inner coherence
and musical quality through its careful choice of
words, rhythms, alliterations, and sounds.
Humorous effects abound in the orchestral
instruments showing the composer at his
Chaplinesque best. The timing and pacing of the
humour created by the imitation of animal sounds
is impeccable, culminating in a moment of noisy
chaos as the four friends crash through the glass in
an attempt to chase robbers out of their house.
[74] The Travelling Musicians
(narrator/singer – sop. or ten. – & chamber orch.)
Victoria-based soprano Catherine Fern Lewis
studied with and was coached by Frances James
Adaskin for the work’s premiere as well as for
numerous other concerts.
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).
Re-scored for chamber orchestra in 1997 (see No.
74).
Premiered January 19, 1997, Royal Theatre, Victoria
Symphony Orchestra. Conductor, Brian Jackson,
soprano/narrator, Catherine Fern Lewis, a frequent
interpreter of Adaskin’s vocal music.
Dedicated to Paul Freeman, former conductor-inresidence with the Detroit Symphony Orchestra.
61
[75] There Is My People Sleeping
Adagio
2.2.2.2 – 2.2.0.0 – perc. – strings
Commissioned for CBC Toronto by producer and
programme organizer Carl Little.
Premiered March, 1971, Winnipeg, on the CBC
“Tuesday Night” series as part of a two-hour
documentary program on the composer “Murray
Adaskin at Sixty-Five”, by the CBC Symphony
Orchestra, conducted by the composer.
This work was inspired by a book of indigenous
poems and drawings by Sarain Stump (1945-1974),
the brilliant First Nations artist and poet teaching in
Saskatchewan at the time this work was written.
Stump’s main objective was to promote traditional
native values and to assist young natives to learn
about their heritage.
Dedicated to the memory of Canadian author,
Edward A. McCourt (1907-72).
Ethnic Poem-Drawing by Sarain Stump.
62
IX
SOLO INSTRUMENTS
[76] An Ontario Variation (piano)
[78] Gabrielle (violin)
Victoria, 1997: one mvt. (6’30)
Andante maestoso
Freely
Commissioned by Jack Behrens, University of
Western Ontario, through the Ontario Arts Council.
In late April, 1997, Murray Adaskin received a letter
from Gabrielle Israelievitch asking, “would you be
interested in writing a little piece for my husband
Jacques in honour of his 50th birthday” the following 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.”
For advanced pianist. Intended as one of six
variations with a pedagogical bent by six different
Canadian composers, on a theme by Jack Behrens.
Dedicated to Jack Behrens, professor of theory and
composition, and Dean of the Faculty of Music at
the University of Western Ontario.
Adaskin felt keenly that a wife who expressed her
devotion and imagination by creating a musical celebration for her husband should receive this as a gift,
and herself be honoured, hence the title Gabrielle.
[77] Eskimo Melodies (piano)
Premiered April 19, 1998, Ettore Mazzoleni Concert
Hall, Toronto. Violin, Jacques Israelievitch, with the
composer present.
Grave – un poco piu mosso – tempo II – tempo I –
tempo II
Dedicated to Jacques Israelievitch, concertmaster of
the Toronto Symphony Orchestra.
Re-written from the four-hand version, Rankin Inlet
(see No.79), for Walter Prossnitz, who performed it
during his first China tour.
[79] Rankin Inlet – Eskimo Song (piano,
This composition is based on two melodies which
constituted part of the collection of Inuit tunes
taped by the composer during his 1966 visit to
Rankin Inlet.
four hands)
Grave – molto sostenuto – slightly faster –
a tempo – slightly faster
Dedicated to Arne Sahlen, humanitarian, whose
music making and teaching activities are a major
cultural force in Kimberly BC. He has also gained
recognition throughout the province of British
Columbia for his tireless work in the field of music
education.
First known performance September 4, 1980, Art
Gallery of Greater Victoria. Piano, Jane Davis and
Phillip Tillotson.
A wedding gift for Geraldine Pugh and Claude
McClean, BMus graduates from the School of Music,
University of Victoria.
Inspired by a trip to the Arctic, this composition
depicts the vast expanses and crackling cold of
the Canadian North. Not too technically
demanding if octave stretches are no problem,
it develops sophisticated pacing and expressive
skills. Suitable for Grade VI-VII Piano. (Arne
Sahlen from Provincial Newsletter, a publication
of the B.C. Registered Music Teachers
Association)
Etude No.1 for Piano
See No.120
63
[80] Rondalee (piano)
on albums and LP discs for distribution and
broadcast throughout Europe and the Americas.
(See EMC, p.166)
Andante moderato
The sonata makes considerable use of contrapuntal
devices and bi-tonality. It has received numerous
performances over the years, including such
distinguished artists as Mario Bernardi and Kendall
Taylor. Its appeal to piano teachers is captured in
the following letter by Winnifred S. Wood, VicePrincipal Emeritus, the Victoria Conservatory of
Music:
Premiered October 1, 1994, PTY Recital Hall,
University of Victoria, at the Murray Adaskin Prize
Benefit Concert. Piano, Ewa Stojek-Lupin.
Recorded: TAC,Vol. 2
A short piano study for an advanced pianist. The
composer wrote this piece in rondo form as a play
on the name Rondalee.
We (my student Patricia Au and I) are
thoroughly enjoying your beautiful sonata. I
find the process of learning new music in an
unfamiliar idiom fascinating. It seems to take
on a life of its own, revealing more and more
as it begins to realise that you are serious
about learning it… (Oct. 31/00)
Written for and dedicated to young family member
Rondalee Ravicchio.
Kathy McLane, Hamline University, Saint Paul
Minnesota, wrote in 1998:
my friend and teacher Rita Juhl [New York
City], recently treated me to an evening of
your piano music. I like many of the teaching
pieces and was particularly smitten with the
Sonata. I plan to use your pieces with my
students and hope to program the Sonata, in
the near future.
Dedicated to Canadian conductor and pianist Mario
Bernardi.
The composer and Rondalee Ravicchio.
[82] Sonata No.1 for Violin
[81] Sonata for Piano
Toronto, 1950: four mvts. (9’10)
Andante – allegretto scherzando – tempo primo (4’)
Adagio (5’)
Allegro (3’30”)
With free and gentle motion (2’45”)
Moderato - lento (1’50”)
Lento (2’45”)
Finale, quick and lively (2’30”)
Commissioned by the Vancouver Recital Society for
the 1996 Vancouver Chamber Music Festival.
Premiered February 21, 1950, for the International
Service of CBC. Piano, Louis Crerar.
Premiered July 29, 1996, Vancouver. Violin, James
Ehnes.
Reviewed by Elisse Poole in the Globe and Mail on
July 31, 1996, the sonata was perceived as one of
“the evening’s small treasures.”
CBC’s International Service operated up to 1968 as
an arm of the Department of External Affairs. After
1968 it became a department of the CBC. The
spoken transmissions were beamed to Europe from
Sackville, N.B., while Canadian music was recorded
Dedicated to James Ehnes.
64
internationally renowned American-born
violinist Jack Glatzer performed Sonatine
Baroque. He made a recording of this work for
the Adaskin Collection of CDs in Victoria while
on tour in March 2000. As Adaskin listened to
Glatzer recording the second movement, he
remarked that listening to the piece brought to
mind “all the things I wished I had done and
would have liked to have done.”
Dedicated to Andrew Dawes, former Adaskin
student, and long-time first violin in the Orford
String Quartet. Dawes enjoyed a very warm
and lasting relationship with the composer and
his wife, Frances James. He accompanied them
to Switzerland on the occasion of Adaskin’s
sabbatical in 1960, where he continued his violin
studies with Lorand Fenyves. Dawes, whose
association with Adaskin spans almost half a
century, has played the Sonatine countless times
on tours all over the world.
Andrew Dawes.
[83] Sonatine Baroque for Violin
Originally published by G. Ricordi and Co. Canada
Ltd., the copyright was returned to the composer in
1994.
Toronto, January, 1952: three mvts. (9’50”)
Adagio (3’50”)
Andante (3’)
Allegro – allegretto – piu moso e
cantando – tempo I – allegretto (3’)
[84] Sonatine Baroque for Viola
Commissioned by the Forest Hill Village Community
Concert Series.
Premiered March 10, 1952, in the Forest Hill
Collegiate Auditorium, violin, Eugene Kash.
Adagio (3’50”)
Andante (3’)
Allegro – piu mosso e cantando – allegretto –
tempo I (3’)
Recorded: ACM 23, Vol.3; TAC, Vol.2; TAC, Vol.5
In 1946, a group of music enthusiasts in Forest Hill
Village, an area within metropolitan Toronto,
organized its own community concert series. The
programming policy was unique in that several
commissioned works by Canadian composers,
played by Canadian players, were to be performed
each season.
Transcribed by the composer from his Sonatine
Baroque for Violin (see No.83) at the request of
Steve Larson from the Adaskin String Trio.
Dedicated to Victoria conductor and violist Yariv
Aloni.
The programme on March 10, 1952 was made up
of music of the Baroque period for harpsichord and
violin. With this in mind, the unaccompanied violin
seemed to be the perfect medium to use when
writing in a manner reminiscent of that period. The
work is in the spirit of a Baroque Sonata da chiesa.
It is written in the tonal idiom, combined with
sometimes biting dissonances.
In May 1999 Adaskin was a guest of the Franz
Schubert Society, Roskilde, Denmark, where
65
[85] Thirds and Octaves, Etcetera
(piano)
Peace for Violin
Adagietto
During his visit with Murray Adaskin in March
2000, violinist Jack Glatzer requested a transcription
of the original T-Filat Shalom (see No.34) for
inclusion into his repertoire (see also No.72).
Premiered July 29, 1996, by Stephen Prutsman, a
pianist living in San Fransisco at the time.
In 1996, the year of Murray Adaskin’s 90th
birthday, he was honoured by the Vancouver
Recital Society as their Composer-in-Residence for
their July 1996 Vancouver Chamber Music Festival.
Thirds and Octaves, Etcetera is one of the two
works they commissioned for this event. The other
work is the Sonata No.1 for Violin (see No.82).
Dedicated to Jack Glatzer. (For more on the
Adaskin/Glatzer connection, see No.83)
[87] Two Pieces for Viola da Gamba
Canoe Lake, Algonquin Park, 1972: two mvts.
(9’15”)
Dedicated to Victoria pianist Ewa Stojek-Lupin.
Adagio (4’40”)
Allegretto (4’35”)
Commissioned by Peggie Sampson through a grant
from the Canada Council.
Premiered November 20, 1972, Te Deum Concert
Series, St. James Anglican Church, Dundas, Ontario,
by Peggie Sampson.
These two pieces show remarkable craft in writing
for an unusual instrument. The composer identifies
with its character and is freely able to express
himself, while also expanding the viol’s technical
resources.
The works can be played on either six-string or
a seven-string viola da gamba. Some of the
unusual effects that are called for include lefthand pizzicato while bowing with the right
hand, glissandos both on the frets and above
them, harmonics, and vibrato on certain notes
above the frets. All fingerings and bowings in
the present edition are original. (Mary Cyr)
Dedicated to Peggie Sampson, viola da gambist,
cellist, and pedagogue associated with the
University of Manitoba for over two decades.
The composer on his 90th birthday.
66
[88] Vocalise No.1 for
Bb Clarinet
Adagio
Premiered April 4, 1990, in the
Boris Roubakine Recital Hall,
University of Calgary, by
Laura Mills, niece of the
composer, on the occasion of
her graduating recital towards
her baccalaureate in Music
Performance.
As a great admirer of the
clarinet, Adaskin hoped this
piece would help fill a gap in
the unaccompanied solo
works for the instrument.
The main theme features the
unusual beauty of the clarinet’s
lower range. The Vocalise No.1
is in simple ternary form, its
general mood suggesting a
quiet and thoughtful
improvisation.
Jacques Israelievitch,
concertmaster of the Toronto
Symphony Orchestra, remarked
that…”in the lyrical Vocalise
No.1, Adaskin lets the music
evolve in a natural yet
controlled way, releasing
emotional and intellectual
energy that belies the fact that the composer wrote
this when he was 86.” Although Israelievitch used
this descriptor for the arrangement of this work for
solo violin (see No.91), it is appropriate to all the
Vocalises No.1. Each of these arrangements
(Nos.89, 90, 91) is based on the original Vocalise
No.1 for solo Bb clarinet.
[89] Vocalise No.1 for Flute
Adagio
Premiered April 27, 1996, Duo CanSonare Concert,
University of Southern Texas, by September Payne.
(See No. 88)
Written for and dedicated to the composer’s niece,
Laura Mills.
Dedicated to former University of Saskatchewan
colleague and flutist, Ed and his wife, Jane
Abramson.
67
enthusiastic and welcome letter regarding the
Vocalise No.2 which I dedicated to you with
admiration and love. Everything I know about
the bassoon I learned from you, as you must
know.
[90] Vocalise No.1 for Viola
Adagio
(See No.88)
(See No.94)
Premiered February 28, 2003, PTY Recital Hall,
by Cassia Streb.
Dedicated to George Zukerman (For more on the
Adaskin/Zukerman connection, see No.37)
Dedicated to talented music student, Susan
Campbell.
[93] Vocalise No.2 “In 5/4 Time” for
Cello
[91] Vocalise No.1 for Violin
Andante – allegretto scherzando – tempo primo
Adagio (but freely)
Premiered June 11, 1993, Victoria Conservatory of
Music, by Louise Alexander. (See No.88)
(See No.94)
Dedicated to Pamela Highbaugh Aloni (cellist with
the LSQ)
Dedicated to Andrew Dawes. (For more on the
Dawes/Adaskin connection, see No.83.)
Bb Clarinet
Bassoon
Written for the Vancouver New Music Society in
celebration of the 35th anniversary of the Canadian
Music Centre with its national headquarters in
Toronto.
Premiered January 22, 1995, Forrest Ridge School,
Bellevue, Washington with George Zukerman,
bassoon.
Premiered at the anniverary concert, November 27,
1994, Vancouver Playhouse. Clarinet, Lori
Freedman.
Zukerman was delighted with this addition to the
bassoon repertoire:
You crazy man! How absolutely wonderful to
receive Vocalise No.2. It suits the bassoon
wonderfully. It is full of wonderful
reminiscences of the Concerto. I told you once
that the composer who writes more than a
single piece for the bassoon is instantly
inscribed in the annals of double reed
sainthood!!. Now when people ask me to play
‘the Adaskin,’ I have to ask them which one.
(December 3, 1994)
Forty-five Canadian composers presented new
works to celebrate the anniversary. The event
concluded with a CBC broadcast of the four
concerts 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 same
instrumentation: flute, clarinet, violin, cello, piano,
percussion or any combination of these instruments
to which a vocal component could be added.
Adaskin replied:
My dear George, thank you for your most
68
Murray Adaskin, who has always enjoyed the
haunting and magic voice of the clarinet, decided
to write his composition for this instrument.
Between 1994 and 1996, this Vocalise No.2 “In
5/4 Time” was also transcribed for bassoon (see
No.92), cello (see No.93), viola (see No.95), and
violin (see No.96).
This is Adaskin’s second unaccompanied vocalise
for the clarinet. Not unlike Vocalise No.1 for Bb
Clarinet (see No.88), it is intended to invoke the
spirit 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 in
Toronto on the occasion of the launching of the
Canadian Composers Portraits series. (For more
on the series, see Appendix A.) Violin, Trevor
Fitzpatrick.
Programme of the CMC Anniversary Concert.
(See No.94)
Dedicated to Ann Elliott-Goldshmid, first violin with
the LSQ.
69
[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 the
tribute concert “Ode To Joy: Murray Adaskin
Remembered.” Violin, Mark Lupin.
Zelda is one of the few Adaskin works that
did not receive a premiere at the time of its
creation, and was performed posthumously.
Composed in memory of Zelda Feldbrill, wife of
the Canadian conductor and long-time friend
of the Adaskins, Victor Feldbrill. The conductor
has distinguished himself as a staunch
supporter of Canadian music, and has
conducted more premieres of Canadian orchestral
works throughout the 1950s, ‘60s,
‘70s, than most other conductors of the period.
Victor Feldbrill with Adaskin (1990s)
Dedicated to Victor Feldbrill.
70
X
VOCAL WORKS
Between 1992 and 1996, Adaskin created three
versions of A Wedding Toast on a poem by James
Bertolino, 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 the
occasion of their 50th wedding anniversary.
String Quartet
Andante
Premiered April 30, 1994, Goward House, Victoria
on the occasion of the wedding of Yariv Aloni and
Pamela Highbaugh. Soprano, Catherine Lewis,
violins, Irene Mitri and Sharon Stanis, viola, Joanna
Hood, and cello, Martin Bonham.
“A Wedding Toast”, poem by James Bertolino, “Emerging
Birds”, by Philip McCracken.
Re-scored from A Wedding Toast for Soprano and
Piano (No.98) at the request of Yariv Aloni and
Pamela Highbaugh.
Guitar
The
newlyweds
with the
composer.
Andante
Never performed. Re-scored from A Wedding Toast
for Soprano and Piano (No.98).
71
[101] A Simple Tune Without Words
(soprano, piano & percussion – a china bowl)
Andante
Adaskin in his
late teens.
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)
[103] The Bells of Old England (soprano,
alto, or tenor & piano)
Saskatoon, 1965, one mvt. (5’)
Toronto, c.1940: one mvt. (2’)
Text by Mary Elizabeth Bayer.
Text by John Adaskin.
An aria from the composer’s opera Grant, Warden
of the Plains (see No.55). The setting is a log cabin
near Grant Town, Manitoba in the early 1820s.
Maria McGillis sings of the coming cold winter
with its many hardships and its loneliness. A solo
bassoon sets the tone for this stark scene.
One of the earliest compositions written by
Murray Adaskin. For other early compositions,
see Appendix B.
Premiered in 1965 at the Winnipeg Art Gallery.
Soprano, Phyllis Thompson, bassoon, Tom Elliot.
[104] Busy (soprano & oboe or violin)
On the occasion of the tribute concert “Murray
Adaskin Remembered: An Ode to Joy”, on October
20, 2002, at the Victoria Conservatory of Music,
Mary Elizabeth Bayer wrote new words to the
music of Autumn Song. This text, “Ave Little
Giant,” serves as the poet’s farewell to the
composer. The concert also marked the premiere
performance of the new lyrics by Catherine Fern
Lewis.
Premiered October 9, 1992, “New Music Concert”,
on the occasion of the 20th anniversary of the
Open Space Gallery, Victoria. Soprano, Catherine
Lewis, oboe, Sandra Pohran.
Busy and The Secret (see No.109) were both
composed to poems by Robin Skelton. Murray
Adaskin had a great fondness for the poetry of
and the man Robin Skelton. Often perusing
Skelton’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
with
Robin
Skelton
(1990s).
Catherine Fern Lewis.
72
[105] Epitaph (soprano &
[107]
piano)
(soprano or tenor, violin & piano)
Toronto, 1948: one mvt. (2’)
(9’33”)
Slowly
Of Man and the Universe
Poem by Alexander Pope (1688-1744)
Poem by French poet, Guillaume
Apollinaire (1880-1918).
Slow, majestic
Premiered June 13, 1952, Toronto,
for broadcast on the International
Service of the CBC. Soprano,
Frances James, piano, Louis Crerar.
Paraskeva Clark,
Adaskin was deeply moved by
“Portrait of Frances
Apollinaire’s text, an ode to French
James”, 1952. Oil on
painter Henry Rousseau (1844canvas, 85.4 cm x121
cm.The Adaskin estate.
1910), who retired as a custom’s
(See colour plate VI.)
agent at the age of forty to devote
himself to painting. Rousseau was
considered naïve and eccentric at
the time, and his genius was not recognized during
his lifetime. Today, however, he is recognized as
one 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, glorious
The face of the Stars.
CBC Toronto commissioned this work for
Canada’s Centennial celebrations which
coincided with Expo ’67 (the Universal and
International Exhibition celebrating Canada’s
centenary), for a performance by mezzosoprano Joan Maxwell, piano, Ross Pratt, and
violin, Arthur Polson. In keeping with the
“Man and the Universe” theme of the
Montreal Exposition, the composer selected
quatrains IX and X of Epistle I of Pope’s poem
An Essay on Man (1734).
Premiered August 13, 1967, at the Place des Arts,
Montreal, Quebec, and later broadcast by CBC on
several occasions.
Adaskin chose this text, which outlines the poet’s
philosophy toward “the nature and state of man
with respect to the universe”, as a reflection of his
own philosophy.
Dedicated to Frances James Adaskin.
[106] Hymn of Thanks (solo or unison
voices & piano)
(1’30”)
Poem by Baptist minister, A. Eustace Haydon
(1880-1975)
Written for Camps Ahmek and Wapomeo, Canoe
Lake, for unison voices and piano. This evening
song became the camps’ standard hymn. Dedicated
to camp directors Taylor and Ethel Statten. (For
more on the Statten/Adaskin connection, see No.
57) Originally published by Boosey & Hawkes, the
copyright was returned to the composer in 1993.
Pat Martin Bates, “Of Man and the Universe”, presented
on 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.)
73
[108] The Prairie Lily (soprano solo or
[110] The Shepherd (soprano & piano)
unison voices and piano)
Banff, 1934: one mvt. (1’40”)
Andante
Poem by Hugh Blakeney.
Poem by William Blake (1757-1827).
Commissioned by the Zonta International
Centennial Project Committee, Regina, with the
intent of providing repertoire in the contemporary
idiom for school children. Mr. Blakeney was the
winner of a poetry contest sponsored by the
organization. The intent of the commission was to
publish the composition for use in all grade nine
classrooms in Saskatchewan.
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 Hotel
during the 1930s, Murray Adaskin wrote this work
for his wife, Frances James, on the occasion of their
third wedding anniversary, July 16, 1934.
Canadian tenor, David Mills, has performed this
piece on numerous occasions, and is believed to
have given its premiere.
The critic of the Calgary Herald wrote: “With a fine
sensitiveness [Murray Adaskin] has caught and held
the spiritual significance of a pastoral poem written
in the manner of the poet mystic.”
Dedicated to Frances James.
[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.
“The Lark Ascending”
by Philip McCracken,
the logo of AdLar
Publications.
The composer at leisure during his early Banff days.
74
XI
W O R K S F O R B E G I N N E R , I N T E R M E D I AT E
A N D A D VA N C E D P E R F O R M E R S
Adaskin’s activities as pedagogue were
multi-faceted. He taught music history and
composition classes at the University of
Saskatchewan as well as giving individual
lessons on the violin and in composition to
talented music students. His interest in music
education is evidenced in the section below
which lists a number of compositions for
various instruments, each with a focus on a
specific technical problem. These compositions
with a pedagogical intent are aimed at students
of differing levels of musical proficiency.
An Ontario Variation (solo piano)
See No.76
Adaskin as pedagogue at the University of Saskatchewan.
Legato and Ricochet (see No.124). A seventh,
Gretchen at Seven (see No.123), was composed in
1989. Violinist Roman Totenberg inspired Adaskin
to develop pieces that young people could play
concentrating on specific technical skills.
[111] Calisthenics (violin & piano)
Canoe Lake, Algonquin Park, 1968:
one mvt. (3’10”)
Gracefully, a tempo
Calisthenics is based on two ideas, both technical
in nature, including establishing control over the
entire fingerboard and shifting from and through
first and seventh positions.
Premiered May 5, 1971, Saskatoon Music Festival
by Jeff Krolik,violin, who won his class of 14 years
and under.
During the month of March, 1973, CTV showed
five half-hour daily programs which used Adaskin’s
Serenade Concertante as beginning and end theme.
On one of these programs, Adaskin also performed
his Calisthenics, Daydreams and Quiet Song.
Dedicated to Jeffrey Krolik. (For more on the
Adaskin/Krolik connection, see No.34.)
Calisthenics is one of seven compositions written
for violin and piano as pedagogical pieces at either
the intermediate or advanced level, each of which
concentrates on one or more aspects of violin
technique. The three pieces composed in 1963
include: Dance (see No.112), Dedication (see
No.118), and Quiet Song (see No.125). All three
were premiered at the University of Saskatchewan
by Roman Totenberg. Three others were composed
in 1968. In addition to Calisthenics, they include
Daydreams for Violin and Piano (see No.113), and
[112] Dance (violin & piano)
Allegretto
Premiered December 1, 1963, Convocation Hall,
University of Saskatchewan, “Sunday Evening
Recitals”. Violin, Roman Totenberg, piano, Boyd
MacDonald. (see No.111)
Intended as a study in natural harmonics for
intermediate and advanced violinists.
75
[113] Daydreams for Violin & Piano
[115] Daydreams for Bb Clarinet &
Piano
Andante
Andante
Premiered December 13, 1969, Regina, Biennial
Convention of the Canadian Music Educators’
Association. Violin, Murray Adaskin, piano, Keith
Cockburn.
Premiered February 25, 1971, Convocation Hall,
the University of Saskatchewan at a Department of
Music Junior Recital. Clarinet, Karen McNichol,
piano, Trevor McLain. For intermediate and
advanced players.
Originally written for violin and piano, Daydreams
was later re-scored for the following instrumental
combinations: Eb alto saxophone and piano (see
No.114), Bb clarinet and piano (see No.115), two
violins (see No.116), and violin and cello (see No.
117).
Dedicated to music student, Karen McNichol.
Daydreams for Violin and Piano is one of three
compositions written in 1968 for intermediate and
advanced musicians (see No.111). The work is
based on two ideas, technical in nature, suggested
to the composer by Roman Totenberg: the rotating
motion of the hand and lifting the finger to reattack a note.
[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 is
Finki, Where are you. See No.121) The “New
Music for Young Musicians” was a co-operative
project of the BC Regional Council and the National
Office of the Canadian Music Centre.
Originally published by Sonante Publications, the
[114] Daydreams for Eb Alto
Saxophone & Piano
Premiered March 22, 2001, Wood Hall, Victoria
Conservatory of Music. Violinists Justin Chiu and
Jordon Ofsesh.
Andante
For intermediate and advanced players, this duet
teaches violinists two specific positions: to play the
E note on the open E string with the fourth finger,
and to play the same note on the A string. They
also play the open A with the fourth finger on the
D string, which is the same note a fifth lower. (For
the origin of Daydreams, see No.113)
Completed in August, 1972, for the third World
Saxophone Congress, at the request of Torontobased saxophone soloist and pedagogue, Paul
Brodie.
Premiered on CBC radio Toronto, 1987. Saxophone,
Julia Nolan.
Keith MacMillan, Director of the CMC in Toronto,
wanted to have this composition included in the
1971 teaching syllabus in the Royal Conservatory
of Music for intermediate and advanced players. As
its inclusion in the syllabus was conditional on the
composition being available in published form, and
as getting a Canadian composition published in the
1970s was not an easy task, Adaskin had to decline
the offer. The composer’s frustration with the lack
of a proper venue for the publication of Canadian
compositions, is expressed in his correspondence
with MacMillan (see Lazarevich, p.254).
[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.
Dedicated to young Victoria saxophonist Tristan
William James McClean.
76
[118] Dedication (violin & piano)
[120] Etude No.1 for Piano
Canoe Lake, 1963: one mvt. (3’10”)
Andante
Allegretto
Premiered December 1, 1963, University of
Saskatchewan. Violin, Roman Totenberg, piano,
Boyd MacDonald.
Commissioned for the Victoria Conservatory of
Music Piano Summer School (at that time located
on Academy Close) by the programme founders
and directors Susan de Burgh and Arne Sahlen.
Recorded: Dances and Romances for Violin
Premiered July 11, 1992, Young Auditorium,
Camosun College, Victoria. Piano, Katelyn Clark.
Intended as an exercise for the second finger
within the first position for violinists at the
intermediate and advanced level (see No.111).
For advanced pianist, this Etude is a study in
rhythmic precision and detached finger action. One
of three piano pieces commissioned for the Piano
Summer School, suitable for differing levels of
student ability. The other two are Gretchen (see No.
122) and Savannah (see No.127). Each piece was
dedicated to and named after one of the
composer’s grandchildren.
Dedicated to Karen Gelmon, daughter of the
Adaskins’ good friends from the Saskatoon period,
Sydney and Miriam Gelmon.
[119] Essay for Strings (junior orchestra)
Dedicated to the composer’s grandson, Cameron
Bigge.
Allegro: tempo di marcia
Commissioned by the Oak Bay Junior-Senior High
School Orchestra of Victoria.
Premiered September, 1972 at the British Columbia
Music Educators’ Association Conference.
I attended one rehearsal at Oak Bay Junior
High School. They played the Essay for me,
and then I took them through the work. It’s a
good piece(!) and they play it well. I came
away quite delighted with the possibilities.
The piece exhibits a certain freshness and
excitement which I think the listener will find
infectious. (Murray Adaskin)
Dedicated to Oak Bay high-school music teacher
and orchestra director, Bernard Rain. (For more on
Rain, see No.129)
Cameron Bigge
77
[121] Finki, Where Are You? (two violas)
Andante
One of two compositions commissioned for duo
instrumentalists by “New Music for Young
Musicians”. The other is Daydreams for Two
Violins (see No.116). The “New Music for Young
Musicians” was part of the“BC Millennium 2000”
series, a co-operative project of the BC Regional
Office and the National Office of the Canadian
Music Centre.
The title is based on an incident at Canoe Lake
when Finki, the cat accompanying Adaskin’s
niece who was visiting at the time, temporarily
disappeared. “Uncle Murray” took his niece by the
hand, and together they walked out into the night,
calling, “Finki, where are you?” The intervals of the
falling third and rising fourth emulate the melodic
inflection of the call. This inflection became a sort
of Adaskin “signature”, and may be detected
throughout his output, embedded in a number of
his compositions.
[122] Gretchen (piano)
Andante
The piece gives beginner violinists an opportunity
to play together taking turns at performing the first
and second viola parts.
Premiered July 11, 1992,Young Auditorium,
Camosun College, Victoria. Piano, Christa Monasch.
Dedicated to a neighbour and beginner violist,
Chelsea McClean.
One of three piano pieces commissioned by
Susan de Burgh and Arne Sahlen for the Victoria
Conservatory of Music Piano Summer School. The
other two are Etude No.1 for Piano (see No.120)
and Savannah (see No.127) for intermediate and
advanced pianists.
Dedicated to Gretchen Bigge.
Ten years after the composition of Gretchen, in
order to celebrate the twentieth annual
Victoria Piano Summer School anniversary, its
directors and faculty commissioned seven BC
composers to each write a piano variation on
Adaskin’s Gretchen. The new composition,
premiered on July 13, 2002, at the PTY Recital Hall,
University of Victoria, with Miranda Wong at the
piano, is entitled “Variations on a Theme of Murray
Adaskin”.
Shandy, the composer’s beloved cat.
78
[125] Quiet Song (violin & piano)
Lento
Premiered December 1, 1963, Convocation Hall,
University of Saskatchewan. Violin, Roman
Totenberg, piano Boyd McDonald.
Intended for beginner violinists (see No.111).
Dedicated to Cheryl Ames.
Originally published by Leeds Publishing, the
Gretchen Bigge.
Rondalee (piano)
[123] Gretchen at Seven (violin & piano)
See No.80
Andante
For intermediate and advanced violin (see No.111).
Written for composer’s granddaughter, Gretchen
Bigge on the occasion of her seventh birthday,
October 7, 1989. For intermediate and advanced
violinists.
[126] Rondino for Orchestra
Stately and rhythmic
Dedicated to Gretchen Bigge.
3.2.3.1 – 4.4.1.0 – piano – strings
Commissioned by the Canadian Music Centre for its
graded school-music programme, to be performed
by junior orchestra.
[124] Legato and Ricochet (violin & piano)
Premiered March 9, 1965, Toronto, North Toronto
Collegiate Orchestra. Conductor, Douglas Couke.
Andante moderato
Dedicated to the composer’s brother, John Adaskin.
Recorded: Dances and Romances for Violin
One of three pedagogical pieces for violin and
piano, composed in 1968 for young musicians at
the intermediate and advanced level, all of which
are designed to address certain technical problems
idiomatic 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 violinist
Roman Totenberg.
79
[127] Savannah (piano)
[128] Serenade for Strings
Toronto,1934: one mvt. (6’45”)
Andante
Andante
See Etude No.1 (No.120) and Gretchen for Piano
(No.122)
Premiered May 22, 1934, CKNC Toronto.
Conductor, Alexander Chuhaldin and his “Melodic
Strings” orchestra.
Premiered July 11, 1992, Young Auditorium,
Camosun College, Victoria. Piano, Patricia Au.
Alexander Chuhaldin was both a member of the
violin section and conductor of the “Melodic
Strings.” He had commissioned this work from
Adaskin with the intention of conducting it on air,
although at the time he was neither a trained
conductor nor composer.
Intended for intermediate pianist.
Dedicated to the composer’s granddaughter
Savannah Bigge.
As it happened, Sir Ernest MacMillan heard the
broadcast, and on the strength of it offered Murray
Adaskin a scholarship to study composition with
him. The subsequent ten lessons were Adaskin’s
introduction to the study of composition (see
Lazarevich, pp.137-138).
Suitable for performance by a professional
ensemble as well as an accomplished high
school/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”)
Savannah Bigge.
Commissioned by the Oak Bay Strings of Victoria
Intended for junior string orchestra. Each of the
three pieces may be performed as a separate
composition.
Bernard Rain, who commissioned this work for the
Oak Bay Strings, wrote the following in his grant
application:
I am the Conductor and Music Director of the
Oak Bay Strings. This is a string orchestra
which has a membership, this season, of 36
young people between the ages of 13 and 19.
The requirements for membership are:
80
reasonable ability on violin, viola, cello or
double bass; studying with a private teacher
in a recognized string class in the Greater
Victoria School system (or equivalent); and
willingness to rehearse Monday evenings for
two hours. The purpose of the group is to
foster in young students the love and
enjoyment of making music together and the
development of good string playing. We also
hope to prepare the members for possible
participation, as adults, in orchestras and
ensembles as a hobby or profession.
[131] Waltzling for Piano
Allegretto
Originally entitled “Valse”, this piece was written in
1927 for Naomi Adaskin, wife of Murray Adaskin’s
brother John Adaskin. It was renamed “Waltzling”
in 1995. Intended for the intermediate pianist.
Dedicated to Naomi Adaskin.
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 short
compositions by nine different Canadian composers
intended for grades 3 to 5. Each piece was to be
based on a different scale pattern in order to
acquaint the students with non-traditional
sounding music. The composers were: George Fiala,
Louis Applebaum, Violet Archer, Robert Fleming,
Carleton Elliott, Brian Cherney, Richard Johnston,
Robert Turner and Murray Adaskin. Adaskin’s
Toccatina, number 9 this collection, is based on
augmented seconds.
The technical problem is presented in the use of a
device known as “poly-meter”: the introduction of
the simultaneously played triple and duple meter.
In the score, Adaskin includes an exercise to assist
with the technical requirements of this piece.
81
82
I Pavelic, “Portrait of Frances Adaskin”, 1979 (see No.7)
II Pavelic, “Sketch for Portrait of Murray Adaskin”, 1979 (see No.60)
83
III Photograph of Adaskin’s studio on Canoe Lake, Algonquin Park, Ontario
84
IV Clark, “Algonquin Morning, Canoe Lake” (see No.9)
85
V Clark,”Portrait of Murray Adaskin”. Oil on canvas, 75 x 100 cm, 1945
VI Clark, “Portrait of Frances James” (see No.105)
86
VII Eli Bornstein, (Detail) “Quadriplane Structurist Relief No.5” (see No.5)
87
VIII Bates, “Of Man and the Universe” (see No.107)
88
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
89
XI Ken Dallison, historic poster of the National Arts Centre Orchestra (see No.62)
90
XII Final resting place of Frances and Murray Adaskin. Royal Oak Burial Park, Victoria, B.C.
91
92
APPENDIX A
R 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
1.
Sonata No.2 for Violin and Piano (1987)
Sharon Stanis, violin
Ewa Stojek-Lupin, piano
The Adaskin Collection (TAC)
The Adaskin Collection is a five-volume series, recorded
between 1995 and 2001 by AdLar Music in Victoria.
The company is no longer in operation, but all of the
recordings are available through the Canadian Music
Centre, Distribution Services:
Divertimento No.7 (1985)
Tsuyoshi Tsutsumi, cello
Pamela Highbaugh Aloni, cello
The Canadian Music Centre /
Centre de Musique Canadiene
20 St. Joseph Street, Toronto, ON M4Y 1J9
www.musiccentre.ca, www.centremusique.ca
Vocalise No.1 for Solo Violin (1992)
Jacques Israelievitch, violin
The contents of each of the five volumes are listed below:
String Quintet (1995)
The Lafayette String Quartet
Garry Karr, bass
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. 4
Sonata for Cello and Piano (1981)
Nocturne for Clarinet and Piano (1978)
Patricia Kostek, clarinet
Bruce Vogt, piano
Vol. 2
Ann Elliott-Goldshmid, violin
Patricia Grant Lewis, piano
Solo works performed by Ewa Stojek-Lupin, Andrew
Dawes, Pat Kostek and Tsuyoshi Tsutsumi.
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)
Daydreams for Eb Alto Saxophone and Piano (1971)
Erik Abbink, saxophone
Jacqueline Perriam, piano
Vol. 5
Woodwind Quintet No.1 (1974)
The Bergen Woodwind Quintet:
Gro Sandvik, flute
Steinar Hannevold, oboe
Lars Kristian Brynildsen, clarinet
Ilene Chanon, horn
Per Hannevold, bassoon
Vol. 3
Octet for Strings (1993)
The Lafayette String Quartet and Cuarteto
Latinoamericano:
Saul Bitrán, violin
Arón Bitrán, violin
Javier Montiel, viola
Alvaro Bitrán, cello
Musica Victoria (2000)
Thüringer Salonquintett:
Andreas Hartmann, 1st violin
Egbert Funda, 2nd violin
93
Georg Fritzsch, violincello
Peter Nelson, double bass
Johannes Rainer Eichhorn, piano
Vol. 3
Ballet Symphony (1951)
Toronto Symphony Orchestra
Geoffrey Waddington, conductor
Sonatine Baroque for Solo Violin (1952)
Jack Glatzer, violin
Sonatine Baroque for SoloViolin (1952)
Andrew Dawes, violin
Woodwind Quintet No.2 (1993)
The Bergen Woodwind Quintet
2.
Serenade Concertante (1954)
Toronto Symphony Orchestra.
Sir Ernest MacMillan, conductor
Anthology of Canadian Music (ACM)
No longer in print. Available at the National Library of
Canada and selected university music libraries.
Rondino for Nine Instruments (1961)
Chamber Ensemble, Winnipeg Symphony Orchestra
Victor Feldbrill, conductor
A multi-volume collection of recorded Canadian music
released between 1978 and 1991 through Radio Canada
International. Its goal was to present in boxed sets the
most significant works of Canadian composers for the
purpose of making their compositions available for radio
broadcasts nationally and internationally.
Vol. 4
Concerto for Bassoon and Orchestra (1960)
George Zukerman, bassoon
CBC Vancouver Orchestra
John Avison, conductor
Project director Betty Zimmerman. Executive Producer
Monique Grenier. ACM Vol. 23, released in 1986, is a
boxed set of five vinyl records of the music of Murray
Adaskin. The contents are listed below:
Two Portraits (1973)
Lorand Fenyves, violin
Patricia Parr, piano
Vol. 1
Murray Adaskin talks with Bryan N.S. Gooch, musician,
author, composer, conductor and university professor, in
a conversation specially produced by Radio Canada
International for this Anthology of Canadian Music.
Divertimento No.3 (1965)
Taras Gabora, violin
Barry Tuckwell, horn
Vol. 2
Lorand Fenyves,violin
Pierre Souvairan, piano
Diversion for Orchestra (“An Entertainment”) (1969)
National Arts Centre Orchestra
Mario Bernardi, conductor
Epitaph (1948)
Frances James Adaskin, soprano
Mario Bernardi, piano
Vol. 5
Bassoon Quintet (1977)
The Purcell String Quartet:
Norman Nelson, violin
Joseph Peleg, violin
Philippe Etter, viola
Ian Hampton, cello
Suite for Orchestra (1948)
CBC Montreal Orchestra.
Roland Leduc, conductor
Canzona and Rondo (1949)
Marta Hidy, violin
Chestrer Duncan, piano
Fanfare for Orchestra (1970)
CBC Winnipeg Orchestra
Eric Wild, conductor
94
Sonata for Cello and Piano (1981)
Ronald Turini, piano
3.
In Praise of Canadian Painting in the Thirties for String
Orchestra and Piano (1975)
Opportunity Knocks
Divertimento No.6 for Solo Percussion and Orchestra
(1985)
John Rudolph, percussion
Classic commissions from the CBC radio programmes of
the 1950s. Symphony Nova Scotia conducted by Howard
Cable.
Track 14 Murray Adaskin: March No.1
CBC Records/Les disques SRC
P.O. Box 500, Station A, Toronto,
Ontario, Canada M5W 1E6
©1992 Canadian Broadcasting Corporation/Société
Radio-Canada
www.cbc.ca
4.
The Canadian Music Centre /
Centre de Musique Canadiene
20 St. Joseph Street, Toronto, ON M4Y 1J9
www.musiccentre.ca, www.centremusique.ca
©Centrediscs / Centredisques
5.
Canadian Composers Portraits/
Portraits de Compositeurs Canadiens
Making Magic: A Tribute to Murray
Adaskin
A CBC Radio Two documentary
Interviewer: Rodney Sharman
Host: Michael Juk
Musicians: Thüringer Salonquintett and the Lafayette
String Quartet
Murray Adaskin (1906-2002)
A series of interviews and recordings produced by
Centrediscs at the Canadian Music Centre (CMC) with
the assistance of the Canada Council. Each disc presents a
retrospective of the last fifty years of Canadian musical
heritage and is dedicated to a single composer. This is a
work in progress, with the CD of the music of Murray
Adaskin being recorded on CM CCD 8102 (2002).
Program: Westcoast Performance
Episode Title: Making Magic
Air date: April 1, 2001
Length: (54’)
CD 1
Adaskin documentary produced and presented by Eitan
Cornfield (53’30”)
Contact Information:
Westcoast Performance, CBC Radio Two
Box 4600, Vancouver, BC V6B 4A2
http://vancouver.cbc.ca/wcp and click on the Murray
Adaskin Link
©2001, Westcoast Performance, CBC Radio Two
CD 2
Diversion for Orchestra “An Entertainment” (1969)
National Arts Centre Orchestra
Concerto for Bassoon and Orchestra (1960)
CBC Vancouver Chamber Orchestra
John Avison, conductor
6.
Suite Hebraique – Jacques
Israelievitch, Violin
John Greer, piano
Track 9
Murray Adaskin: Vocalise No.1 for Solo Violin (1992)
©ibs: 93 Langarth Street West
London, ON, Canada N6J 1P5
(519) 439-2334 Fax (519) 679-6651
Suite for Orchestra (1948)
95
7.
Dances and Romances for Violin
Vinyl Records with Murray Adaskin’s
Music
Moshe Hammer, violin
Valerie Tryon, piano
Dedication for Violin and Piano (1963)
Legato and Ricochet for Violin and Piano (1968)
No longer in print, these records are available through the
National Library of Canada and selected university
libraries.
CBC Records, MVCD 1071, July, 1994, Musica Viva Series
8.
Algonquin Symphony (1958) – Dominion Records
Stereo – S1372 Mono – 1372
Conductor, Victor Feldbrill, with the Toronto
Philharmonia.
Canadian Compositions for Young
Pianists (BR 1336)
Algonquin Symphony (1958) – Citadel Records (with
the cooperation of CAPAC – CT-6011)
Conductor, Victor Feldbrill, with Toronto Symphony
Orchestra. 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 Arts
Centre Orchestra. Producer, Gary J. Hates.
Recorded at Sacre-Coeur Church, Ottawa May, 1977.
Recording engineer, Paul Lacroix.
A four CD set available through the Canadian Music
Centre.
Elaine Keillor, piano.
CD No.C Savannah (1992) (Intermediate level)
Diversion for Orchestra (“An Entertainment”) (1969) –
Canadian Broadcasting Corporation, SM 294 (stereo)
Conductor, Pierre Hétu, with the Edmonton Symphony
Orchestra. Producer, Duncan McKerchar.
Recorded at St. Timothy's Anglican Church, Edmonton,
Alberta. Recording engineers, G. Ratcliffe & A. Lamden.
Concerto for Bassoon and Orchestra (1960) – CBC
Radio Canada, SM-143 (stereo)
Conductor, John Avison, with the Vancouver Chamber
Orchestra. 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.
96
APPENDIX B
P 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 A Y A D A S K I N
Unless otherwise noted all musical scores listed in this
catalogue are available through the Canadian Music
Centre (CMC). The CMC is a lending library as well as a
source for the purchase of scores:
The Canadian Music Centre
20 St. Joseph St., Toronto, Ont. M4X 1J9
www.musiccentre.ca [email protected]
The Bee (no date, Franz Schubert), arranged by Adaskin
for violin, cello, and piano.
Etude No.3 (1942, from 24 Etudes and Caprices Op. 35
by 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.
The following scores have been published commercially:
Serenade for Strings (Catalogue No.128) is published in
the Canadian Musical Heritage Society Historical
Anthology, Music for Orchestra III, Vol. 16, 1994.
Sweet and Low (no date, Joseph Barnaby), arranged for
violin, cello and piano.
Back the Attack (1943) for chorus. Words written by John
Murray Gibbon. Composed for the fund raising drive
“Victory Loan Campaign” to assist the sale of bonds for
the World War II effort. (This composition does not seem
to have survived. Information is obtained from The
Montreal Gazette, April 19, 1943).
The Shepherd (Catalogue No.110) is published in the
Canadian Musical Heritage Society Historical Anthology,
Songs IV, Vol. 14:
Canadian Musical Heritage Society
P.O Box 53161, Ottawa, Ont. K1N 1C5
www.cmhs.carleton.ca
A number of university libraries have collections of
Adaskin’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 Prairie Lily (Catalogue No.108) is published by The
Frederick Harris Music Co. Limited, Voice Repertoire
Series – Voice Repertoire 4:
The Frederick Harris Music Co. Limited
Unit 1, 5865 McLaughlin Rd.
Mississauga, Ont. L5R 1B8
www.Frederickharrismusic.com
Algonquin Symphony (Catalogue No.57), Saskatchewan
Legend (No.68), Serenade Concertante (No.69) are
available only at:
Counterpoint Musical Services
2560 John St., Unit 24
Markham, Ont. L3R 2W6
[email protected]
Toccatina for Piano (Catalogue No.130) is published in
Music by Canadian Composers, “Horizons” – Bk.1,
Waterloo Music Co., 1974.
Six early works are located in the Music Library of the
University of Saskatchewan. Some are missing parts,
information as to date of composition, and others are
autographs. Some seem to be arrangements by Adaskin of
classical compositions made during the days when his
Toronto Trio played at the Royal York Hotel:
An Eriskay Love Lilt (no date). Orchestral parts in
autograph: flute, oboe, Bb clarinet, horns in F, trumpets
in Bb, trombones, percussion, strings.
The National Library of Canada is the repository of much
of Adaskin’s music and archive:
National Library of Canada
Ottawa, Ont. K1A ON4
(819) 996-2300 [email protected]
97
APPENDIX C
S 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 A Y A D A S K I N
Much biographical information on the composer is
available in the public domain. Some of these sources are
listed below:
The Canadian Music Centre web page
www.musiccentre.ca
Toronto radio station CJRT-FM broadcast a week-long
“Murray Adaskin Retrospective” in 1993.
A number of cassette tapes of interviews of Murray
Adaskin made in 1983 and ’84 by Gordana Lazarevich
have been sent to the Adaskin archive in the National
Library of Canada.
Encyclopedia of Music in Canada, Eds. Helmut Kallmann
Gilles Potvin, Kenneth Winters, University of Toronto
Press, 1992.
In addition, there are two books documenting the
composer’s life:
Gordana Lazarevich, The Musical World of Frances James
and Murray Adaskin, University of Toronto Press, 1988.
Interview conducted by Bryan N.S. Gooch, in Anthology
of Canadian Music, ACM 23, Vol.1A.
Kathleen Niwa, The Adaskin Art Collection: An Exhibition
at the Maltwood Museum and Gallery, University of
Victoria, University of Victoria, 1988.
Adaskin documentary produced and presented by Eitan
Cornfield in Canadian Composers Portraits/Portraits de
Compositeurs Canadiens, CM CCD 8102 (2002) “Murray
Adaskin”, CD 1.
The Canadian Broadcasting Corporation presented a
two-hour broadcast, “Profile of Murray Adaskin at 65”
in 1971, and a six-hour broadcast “Murray Adaskin – A
Canadian Music Retrospective”, in 1989.
98
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, 19301970 (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.
99

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