Toronto Microtonality

After a terrific week in Toronto, participating in a Critical Band
concert on Dec. 14th, directed by composer John Gzowski, it is perhaps a
good time to put together some reactions for the list.

Was there a discernible Toronto "style" of microtonal music? I think so,
in an admittedly general sense. Listening to composer and Musicworks
editor Gayle Young's string quartet on a Musicworks CD crystalized for
me what all the music has had in common.

Perhaps it is ultimately the influence of composer James Tenney (formerly
of the U.S. Southwest) that bring just intonation aesthetics to the fore.
Jim Tenney worked with both Partch and Varese and has imbued younger
Torontoans with an appreciation for just intervals, while encouraging each
to compose in their own voice. To his credit, Jim came to the concert and
to the demonstration the following day, now with his daughter. At that
time he presented me with a score to his just intonation wind quintet
"Spectrum 2" and with a CD of his just intonation piano quartet.

John Gzowski comes to music from a jazz/rock tradition and I had the
opportunity to rock out with his rock band on my last night in the city.
Guitar led John to 19ET and finally to elaborate chamber works in both
31-ET and JI for a "2 by 4" (which made its debut at the concert, and
sings electrically in rich low harmonic sounds, but with a bounce). I
found his music well thought out and deeply philosophical, and allowing
ample room for improvisational instincts.

John was joined by Garnet Willis who vocalized, percussed, and let
loose his "Clusterflux" which is an artifically intelligent
magnet/electric standalone that I jammed with on bassoon. It responded to
my tiny glisses like a person. It is also Tenney influeced, as well as
Lucier influenced. He also wrote an exciting piece for English violinst
Becky van der Post and himself at a piano retuned to a subset of 31ET.

Adapted violist (a real beaut, probably better sounding than Harry's) Marc
Sabat played with full command and sensitivity in the 6 Li Po that I
intoned. His solo was for an electronic violin which droned and shook off
colors of pitch. In addition he played in all the larger chamber works
written by John Gzowski and it was indeed a pleasure to be with so many
literate microtonalists that could play richly and with excitement.
Margaret Gay at the cello gushed harmonics and the inimitable Rick Sacks
sparkled throughout the evening with a myriad of percussion variegation.

>From these, and other musical interactions, I get this
glacial sense with Toronto's microtonal music, as if microtones had a
sense of esteem that preseumesa sure footing in presentation. While there
is little melodic musicle flexing or even rhythmic alternations, there is
a serenity in the production and a confidence in the employment of the
materials. There is almost a gamelan effect regardless of the person
involved. This seems all
the more so after hearing Andrew Timar's Toronto Gamelan group -- The
Evergreen club -- ironically busier than most other gamelan groups I have
heard.

Toronto's music is much more supported by the Federal Government in Ottawa
thanI had imagined. Additionally, it is quite a beautiful thing that the
Northern hemisphere's pre-eminent New Music publication - Musicworks -
presents CDs with each issue, encourages microtonalisms, and is open to
outside creative forces. E-mail Gayle Young at sound@musicworks.web.net
for information on receiving Musicworks and its accompanying CD.

Johnny Reinhard
Director
American Festival of Microtonal Music
318 East 70th Street, Suite 5FW
New York, New York 10021 USA
(212)517-3550/fax (212) 517-5495
reinhard@ios.com


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