Jump Cuts



Please note there are no door sales for the immediate future — all tickets must be purchased online or over the phone (204-783-7377). Please review our ticket and social gathering policies before ordering your tickets for, and attending, our 2021-22 concerts. All Spring Series concerts, unless otherwise indicated, occur at 7.30pm at Westminster United Church (745 Westminster at Maryland).

Buy 7.30pm March 8th in-person ticket (incl. online) | $36 Adult | $34 Senior | $15 Under-30
Buy 7.30pm March 9th in-person ticket (incl. online) | $36 Adult | $34 Senior | $15 Under-30
• Buy March 25th online-only ticket | $20 Household ticket

This past year or two has not made the presentation of new music easy for composers and ensembles. Our marvellous March 8 and 9 concerts are an overdue celebration of mostly Canadian new music, featuring works by Randolph Peters, Julian Grant, Gabriel Dharmoo, Larry Strachan, and Caitlin Broms-Jacobs (who has arranged Renaissance works for reed trio). We hope you’ll join us at this superb concert.

Randolph Peters will be well-known to Winnipeggers as one of our premiere composers. He’s a prolific film and television score composer, a collaborator of Margaret Atwood and Salman Rushdie, and a composer of numerous operas for the Canadian Opera Company. Our premiere of Peters’ work Luminous features a prominent role for MCO-regular clarinettist Connie Gitlin, and we look forward to the mixture of gusto and elegance we’ve come to expect from this highly imaginative and accomplished composer.

We premiere two other works at this concert: Julian Grant’s Jumpcuts and Gabriel Dharmoo’s Sure until. Inspired by Godard’s crime thriller Breathless, Grant’s Jump Cuts channels Godard’s wham-bam editing style which prefigures filmmakers like Scorsese and Tarantino. Jump Cuts “darts around from mood to mood, tempo to tempo, as if the fabric is cut by scissors,” according to the composer. Gabriel Dharmoo is the toast of the Montréal new music scene, and is both the composer and vocalist for Sure until. Commissioned by the MCO with the assistance of the Canada Council for the Arts originally for a 2020 performance, Sure until is a musical adventure that’s been waiting patiently to thrill audiences.

The MCO also performs Larry Strachan’s Lament for the Souls of Sauteurs, a gorgeous neo-romantic work with echoes of Vaughan-Williams. Strachan, who conducted our 2020 concert with Slow Spirit and Raine Hamilton, is one of Winnipeg's most eclectically talented music figures. Caribbean-Canadian of Grenadian heritage, Larry is a pianist, teacher, adjudicator, and lecturer, as well as a composer and conductor. He’s also founder and director of Chamber Orchestra Without Borders and MUSAIC. Larry's rich and moving music is heard on CBC and Classic 107, and garnered him the Frances Seaton Award. It’s a pleasure to be working with him again.

This concert is a heartwarming opportunity to reconnect with old and new musical friends.

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Manitoba Chamber Orchestra
Anne Manson, Music Director
Karl Stobbe, Concertmaster
Westminster Church in Wolseley
7.30pm, Tuesday & Wednesday, 8 & 9 March 2022
Online presentation March 25th thru April 8th

Julian Pellicano, conductor
Connie Gitlin, clarinet
Gabriel Dharmoo, voice

Caitlin Broms-Jacobs (arr.)
Angelica Beltà (Renaissance works)
World premiere performance, arrangement commissioned by the MCO with the assistance of the Canada Council for the Arts

Gabriel Dharmoo
Sure until
World premiere performance, commissioned by the MCO with the assistance of the Canada Council for the Arts

Timo Andres
Running Theme

Randolph Peters
World premiere performance, Manitoba Arts Council commission

Larry Strachan
Lament for the Souls of Sauteurs

Julian Grant
Jump Cuts
World premiere performance, commissioned by the MCO with the assistance of the Canada Council for the Arts

Season sponsor / CN
March 8th Concertmaster sponsor / Edmond Financial Group
Guest artist sponsor / Scott & Sonya Wright
Volunteer sponsor / MB Liquor Mart
Media sponsors / Classic 107, Golden West Radio & Winnipeg Free Press

Julian Pellicano

Conductor Julian Pellicano has rapidly established himself as a leading interpreter of music across a broad spectrum of genres, traditions, and time periods, leading the Winnipeg Free Press to proclaim that “his versatility is truly astonishing.” Whether it be traditional and contemporary symphonic repertoire, classical and modern ballet, opera, films live with orchestra, pops, musical theatre, multi-media productions, workshops, or his carefully programmed concerts for young listeners, Julian brings an incisive musicality and collaborative spirit to every performance.

The 2020/21 season marked his second as the Principal Conductor of the Royal Winnipeg Ballet, and Pellicano’s eighth season with Winnipeg Symphony Orchestra where he serves as the orchestra’s Associate Conductor. Dedicating himself to the sustainability of these organizations through this difficult season, Julian programmed several new live-streamed events and conducted the Winnipeg Symphony in online concerts on the orchestra’s Masterworks and Pops series, and conducted recording sessions for the Royal Winnipeg Ballet’s online productions and consulted on other online projects with the company.

Highlights from Julian’s recent concert seasons included appearances with the Seattle Symphony, Cincinnati Ballet, Edmonton Symphony, returns to the National Arts Centre Orchestra, Vancouver Symphony Orchestra, and Louisiana Philharmonic, as well as postponed engagements with the Hong Kong Ballet, Vermont Symphony, Oklahoma City Philharmonic and National Arts Centre Orchestra due to the worldwide pandemic.

Julian’s career grew out of unconventional beginnings, performing as a self-taught, percussionist, timpanist, drummer and accordionist, in styles ranging from folk music to blues and jazz, rock and punk, as well as more traditional ensembles and orchestras. Pellicano studied conducting at the Yale School of Music, the Royal College of Music in Stockholm, and in masterclasses with Kurt Masur, Peter Eötvös, Zsolt Nagy, Martyn Brabbins, Carl St. Clair, L’Orchestre Philharmonique du Luxembourg and the Royal Scottish National Orchestra.

Timo Andres

Timo Andres (b. 1985, Palo Alto CA) is a composer and pianist who grew up in rural Connecticut and lives in Brooklyn, NY.

Notable works include Everything Happens So Much for the Boston Symphony, Strong Language for the Takács Quartet, and The Blind Banister, a concerto for Jonathan Biss, which was a 2016 Pulitzer Prize Finalist.

As a pianist, Timo Andres has appeared with the LA Phil, North Carolina Symphony, Albany Symphony, New World Symphony, and in many collaborations with Andrew Cyr and Metropolis Ensemble. He has performed solo recitals for Lincoln Center, Wigmore Hall, the Phillips Collection, and (le) Poisson Rouge.

Collaborators include John Adams, Becca Stevens, Jeffrey Kahane, Gabriel Kahane, Brad Mehldau, Nadia Sirota, Theo Bleckmann, the Kronos Quartet, and Philip Glass, with whom he has performed the complete Glass Etudes around the world. Andres also frequently works with Sufjan Stevens; his recording of Stevens’s solo piano album, The Decalogue, received widespread acclaim.

During the ‘quiet’ season of 2020/21, Andres built an impressive library of music films on YouTube, featuring repertoire which he performed, recorded, engineered, directed, and edited from home. The project was kicked off when his April 2020 solo recital debut for Carnegie Hall was cancelled because of the pandemic; over the next few months, he created a bespoke YouTube playlist exploring the program (featuring works from the Nonesuch Records album, I Still Play, a new commission from Gabriella Smith, and more).

His 21/22 season includes dates with San Francisco Performances, the Ojai Music Festival, the premiere of a new composition for concert:nova; a solo work for cellist Johannes Moser; a piece for the Myriad Trio; and a recital for the Kaufman Music Center.

A Nonesuch Records and Yamaha/Bösendorfer Artist, Timo Andres is on the composition faculty at the Mannes School of Music at the New School.

Connie Gitlin

Connie Gitlin has served as principal clarinet with the Manitoba Chamber Orchestra since 1984, a position which she has held with the Winnipeg Symphony Orchestra, Canadian Chamber Orchestra, Santa Fe Opera Orchestra and Colorado Philharmonic.

Ms Gitlin has appeared numerous times as a soloist with the Manitoba Chamber Orchestra, Winnipeg Symphony and MusikBarock Ensemble, performing the works of Mozart, Rossini, Weber, Copland and Molter among others. Her solo recitals include appearances as an invited guest artist at the International Clarinet Congress both in Vancouver and Cincinnati, and she performed recital works at the Einov Cultural Center in Tel Aviv in collaboration with musicians of the Israel Philharmonic.

An avid performer of both chamber music and new music, Ms Gitlin has been a guest performer on numerous chamber music series both in Winnipeg and Vancouver. Ms Gitlin is much in demand as a teacher of clarinet. She conducts master classes for students of all ages and has served as clarinet instructor at the faculties of music at the University of Manitoba, Brandon University and St. James Music Academy, as well as maintaining a private teaching studio. Currently, Gitlin serves on the faculty at the University of Victoria School of Music. Recently, Ms Gitlin has added the rich folkloric tradition of the clarinet Klezmer music to her repertoire, including collaborations with guitarist and recording artist, Adam Dobres.

Randolph Peters

Randolph Peters is an internationally recognized composer who works in a wide range of art forms and music media. As well as many symphonic, choral and chamber music works, he has composed for opera, theatre and dance, and has created more than 100 film and television scores for feature, documentary and animated productions.

Peters’ compositions have been presented around the world by such as artists as percussionist Dame Evelyn Glennie, the Kronos and Penderecki String Quartets, and conductors Yannick Nézet-Séguin, Marin Alsop, and Bramwell Tovey. His work includes commissions from the Toronto, Winnipeg, Vancouver, Calgary, Québec, Manitoba Chamber, and Edmonton Symphony Orchestras, the Hannaford Street Silver Band, and the Elmer Iseler Singers, among others. His operas include Nosferatu, commissioned by the Canadian Opera Company; Inanna, set to an original libretto by Margaret Atwood; and The Golden Ass, with an original libretto by Robertson Davies, premiered by the COC in 1999.

Gabriel Dharmoo

Gabriel Dharmoo is a composer, vocalist, improviser, interdisciplinary artist and researcher based in Montréal, Tio’Tia:Ke (Canada). His works have been performed in Canada, the USA, France, Germany, the Netherlands, Switzerland, Spain, Estonia, Poland, Australia, Singapore and South Africa. He has received many awards for his compositions, such as the Canada Council for the Arts Jules Léger Prize for his chamber work Wanmansho (2017) and the Conseil Québécois de la Musique Opus Award for his opera À chaque ventre son monstre (2018).

Having researched Carnatic music with four renowned masters in Chennai (India) in 2008 and 2011, his personal musical style encourages fluidity between tradition and innovation. He has participated in many cross-cultural and inter-traditional musical projects, many being led by Sandeep Bhagwati in Montreal (Sound of Montreal, Ville étrange) and in Berlin (Zungenmusiken, Miyagi Haikus).

As a vocalist and interdisciplinary artist, his career has led him to travel internationally, notably with his solo show Anthropologies imaginaires which was awarded at the Amsterdam Fringe Festival (2015) and the SummerWorks Performance Festival (2016). Other key projects include his album Quelques fictions, their drag persona Bijuriya (@bijuriya.drag) as well as video art projects that mix voice and makeup (Portraits, Ghaav).

He is a PhD candidate at Concordia University’s PhD ‘Individualized Program’ with Sandeep Bhagwati (Music), Noah Drew (Theatre) and David Howes (Anthropology).

Larry Strachan

A Caribbean-Canadian of Grenadian heritage, Larry Strachan was born and raised in Winnipeg. He earned a bachelor’s degree in music from the University of Manitoba where he majored in piano and played viola in the university orchestra. He then went on to complete a Master’s degree in Orchestral Conducting from Shenandoah Conservatory in Winchester, Virginia under the tutelage of Juilliard alumnus Ray Fowler. He was an active participant in masterclasses led by Nurhan Arman, Frieder Bernius, John Morris Russell and Dwight Otlman. He has also studied privately with Bramwell Tovey, Earl Stafford and Roy Goodman.

Mr. Strachan has been active as a piano performer and teacher, adjudicator, masterclass clinician, and lecturer. As a composer Larry was awarded the Frances Seaton Award by the Manitoba Choral Association for his composition St. Cecilia Anthem, which was premiered by the Konektis Choir in February 2020. His compositions Tantum Ergo Sacramentum for choir and organ and Ask Me No More for voice and piano were broadcast on CBC Radio.

In Winnipeg he directed the premiere performances of William Pura’s Snaefellsnes for the GroundSwell contemporary music series concert ‘Ether/Aura: The Sounds of Iceland’ and Jerry Semchyshyn’s multimedia song cycle Tapwe Keesakeetawak Aski (How They Loved The Land). He recently conducted the Manitoba Chamber Orchestra in the Warp/Weave collaborative concert with Cluster Festival in performances with Raine Hamilton and Slow Spirit. He has conducted performances with the Prince George Symphony Orchestra and Vancouver Philharmonic Orchestra in British Columbia as well as the Kitchener-Waterloo Chamber Orchestra in Ontario, and in 2006-2007 he acted as the Principal Guest Conductor for the Nova Scotia Youth Orchestra in Halifax.

Mr. Strachan founded the organization Chamber Orchestra Without Borders (COWB) Inc. in 2006. He is Artistic Director of Chamber Orchestra MUSAIC, the ensemble which is supported by COWB. The aim of the organization is to bring before the public orchestral works written by composers of colour or other ethnic backgrounds not normally associated with the creation of orchestral music. COWB has presented a number of Black History Month concerts when Chamber Orchestra MUSAIC has performed the works of composers of African descent.

Julian Grant

Julian Grant was born in London, UK, and has lived in Canada, Hong Kong, Tokyo and Beijing before settling in the US in 2010. He has composed 20 operas of various lengths and sizes, which have been performed by English National Opera, The Royal Opera, Almeida Opera, Mecklenburgh Opera and Tête-à-tête, and, most recently, Boston Lyric Opera. His collaboration with Mark Campbell, The Nefarious, Immoral but Highly Profitable Enterprise of Mr Burke & Mr Hare, premiered last season, and was later nominated for an International Opera Award. In addition, he has won the National Opera Association of America’s New Opera prize and been nominated for a London Theatreland Olivier Award.

From 2002-2007, he was Director of Music at St. Paul’s Girls’ School, London, a post previously occupied by Gustav Holst and Vaughan-Williams. In Hong Kong, he hosted a classical music radio show on RTHK and in Beijing he worked with the Beijing New Music Ensemble, and tried his hand at the Yang Qin (Butterfly Harp). He has written regularly for UK Opera Magazine. In 2012, his Cultural Olympiad commission Hot House, devised by Gareth Malone, premiered at the Royal Opera House, Covent Garden. He currently lives in Princeton and New York where he has an ongoing relationship with the Princeton Symphony Orchestra. Recent premieres include a chamber opera SALT (Emmanuel Music, Boston), Suite for solo viola (Franklin Arts Awakening Festival). He also works with Trenton Music Makers, an El Sistema-derived organization, putting string tuition into public schools. Julian is an advocate for universal music education, and has written operas for children to perform. More information here.

Running theme
Timo Andres

The composer has provided the following note:

Recently, I’ve started to see contrast for its own sake as something best avoided; I’d rather listen to music that gnaws every last scrap of meat off of one bone. Variety will eventually come, I think, if the material’s good, and it will feel earned rather than obligatory.

Running Theme, then, is a proof of concept. It’s a 12-minute romp for string orchestra, entirely based on the interval of a fifth broken over a dotted rhythm. The music flows into three informal sections, not quite movements. A spare and athletic opening gradually accrues harmonic complexity, weighing down its momentum. The second leaps forward again, as if launched forward by this drawn tension—a galloping bass hocket underscoring volleys of high arpeggios. After reaching a series of irreconcilable harmonic confrontations, the music slows its pace of modulation and quickens its rhythmic pulse simultaneously, before dissolving in a ghostly echo of the opening motto.

Randolph Peters

The composer has provided the following note:

Luminous is a new clarinet concerto written especially for Connie Gitlin and the Manitoba Chamber Orchestra. The goal for the work is to somehow evoke the spirit of Chagall’s brilliant and exuberant use of colour as well as reference his moving life story to create a satisfying artistic experience for the musicians and audience alike. Throughout his life, Chagall was consistently attracted to the notion that music and art had everything to do with each other. It is no wonder that other composers have likewise been inspired by his art.

Chagall’s art includes paintings, murals, stained glass windows, ceramics, book-making, tapestries, ballet and opera set and costume design, among other things. He intersected with most of the major artists and artistic movements of the 20th Century. He absorbed the best of modernism while maintaining a personal style that is immediately identifiable and well-loved. Chagall’s life was full of drama, sorrow, love, and loss. He was many times a refugee and knew first-hand the horrors of the century. He experienced poverty, prejudice, state oppression, war, and the atrocities of the Nazis. His paintings were considered “degenerate art” by the Nazis. (In retrospect, that attempted degradation of his work put him in great company!)

Chagall’s paintings often feature a violinist or a clarinetist or even both at the same time. They are sometimes used as nostalgic evocation of his childhood home, with its shtetl life, and its life-marking ceremonies.

But perhaps even more significantly, I think his art is suffused with a quality that can only be called “numinous.” This rarely used word means filled with a sense of the divine. Chagall evokes a sense of awe and wonder in his art, his life, and his loves. The luminosity of his art is numinous.

Angelica Beltà (arr. Caitlin Broms-Jacobs)

The arranger has provided the following note:

I have always enjoyed Renaissance music, from the time when it was first introduced to me in my high school music history classes. My friends and I, having newly discovered the music of Palestrina, Josquin, and Machaut, would walk down the middle of our street at lunch hour, singing Renaissance motets at the top of our lungs. We played masque dances at our school’s Renaissance fair; I even attempted to make a shawm, with much assistance from my father, and a how-to book of ancient wind instruments.

Recently there has been a re-renaissance of Renaissance music, and it is more popular than ever. However, even today most performances and recordings of Renaissance music are on period instruments. But ancient wind instruments, certainly not without their charms, are also limited in many ways. So it is both unusual, and I think magical, to play this very old music on modern instruments, and to make use of all of the great range of expression, technical virtuosity, and control, that they allow.

My main inspiration for this piece has been Respighi’s Ancient Airs and Dances. These are transcriptions of Italian Renaissance lute music which Respighi, who was also a musicologist (one would have to be, I imagine, to sift through dusty 16th century manuscripts in tablature, in search of hidden gems) wove and expanded into three gorgeous suites for chamber orchestra. They are works of genius.

I decided that rather than arrange Respighi’s work, I would indulge in my own love of seeking out hidden gems, and start where Respighi did, by choosing different Renaissance pieces, and creating my own suite. I have used music by numerous composers, and I’ve taken the liberty of combining music originally for lute, with motets for voice, songs, and anonymous instrumental music.

The title Angelica Beltà or ‘Angelic Beauty’ comes from the opening piece in my arrangement, a ballata by Francesco Landini. Landini’s music here is the beginning of an odyssey: “Let me tell you a tale of many years ago …” The suite travels through France, Spain, Portugal and Italy, from music piped by mountain shepherds, to dances at village weddings and royal courts, to echoing cathedrals. It is my hope that as you listen, you will also find yourself in this ancient world, really not so distant after all.

Sure until
Gabriel Dharmoo

The composer has provided the following note:

About truth, confidence, certainty, doubt, questions, nuance, permeability, wavering, unexpectedness, and moulting.

Lament for the Souls of Sauteurs
Larry Strachan

Zilla Jones has provided the following note:

In 1649, a French expedition arrived on the island known to its Indigenous Carib people as Camerhogne, now known as Grenada in what today is called the Caribbean. The Caribs resisted the French through guerilla warfare. In 1651, the Caribs were betrayed and the French were led to their secret headquarters. Rather than surrender to the French, up to 60 Caribs then ran to a 40-foot cliff on the northern point of the sea and jumped to their deaths on the rocks below. The French named the spot where they jumped Morne de Sauteurs, or Leapers Hill. Though Carib resistance continued until 1654 and some Caribs survived into the 1700s, Grenadian legend says that the last remaining Carib people on the island died at Sauteurs.

Jump Cuts
Julian Grant

The composer has provided the following note:

My commission from Manitoba Chamber Orchestra came with a very specific brief: it should be 12 minutes long and be written for a reduced chamber orchestra—strings, two oboes, two horns and a bassoon. This is standard scoring for the dawn of the symphonic repertoire—the very earliest symphonies of Mozart and Haydn, for example. I did think of writing a three-movement homage to those early symphonies, but that is territory that was comprehensively covered by the twentieth-century neoclassicists—and Stravinsky’s legacy loomed too large.

My usual workplace is in the opera house, though I have been dabbling more and more on the orchestral scene recently. Thus, it was no surprise that my twelve-minute curfew conjured up an iconic piece: Rossini’s William Tell Overture. This consists of four very different scenes: an elegy, a storm, a pastoral idyll and the military galop immortalized by the Lone Ranger. But my sketches for Jump Cuts did not start with a narrative or a scene (my usual practice) but with snippets that oddly refused to coalesce. At the same time, on late night TV, I had caught a re-run of an old classic: Jean Luc Godard’s Breathless (with Jean-Paul Belmondo and Jean Seberg, the 1960s precursor of all the cool gangster flicks) and the germ of this piece was born. I stopped trying to force what seemed like irreconcilable elements together (a process known as consilience, according to a physicist friend), and studied how Godard pioneered the idea of a jump cut—sequential shots of the same subject taken from different angles, with no transition, or an abrupt segue from one scene to another.

So instead of Rossini’s four distinct scenes, my piece darts around from mood to mood, tempo to tempo, as if the fabric is cut by scissors. The initial idea, a call of two horns, one noisy, and one muted, as if from a distance, is thrown around in a variety of guises, culminating in a kind of drunken dance. Do please make up your own narrative, enjoy the unexpected scenes and landscapes that unfold, and prepare for a few jolts.

By the way, I am told by a film director, that my use of the term ‘jump cut’ is not quite accurate, it should in fact be a ‘smash cut’ (a non-sequitur shot from one unrelated thing to another), but I feel my piece jumps rather than smashes, so forgive the technical inaccuracy for the sake of poetry. (© Julian Grant 2019.)