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Continuum Concert Series: Some Hot Picks for The OCADU Project

by Edison Osorio

This edition of the Continuum concert series brings the taste and critical as well as creative abilities of a group of visual thinkers into the realm of musical performance. The organizers of the program have kindly asked Charles Reeve’s 4th year Art Writing class to select a group of five songs from a pool of musical compositions. The songs are to be performed in a live event in a downtown venue.  In addition to this, the group of students, of which I am a part, have been given a chance to elaborate on the programme’s essay and write notes for the final playlist. This experiment put a spin on the structural tradition bound to arts programmes.

About Continuum

Formed in 1985, Continuum presents concerts featuring the core ensemble of flute, clarinet, violin, cello, piano, and percussion, as well as unusual instrumental combinations. The organization has been responsible for commissioning and premiering over 100 new works from emerging Canadian and international composers in the first stages of significant careers as well as established composers chartering new territory.

A Glance at the Programme Notes
9 through 99
by Peter Adraansz
Description by Edison Osorio

A sonic journey, 9 through 99 takes its listeners through a set of fascinating motifs repeating themselves in slightly changing patterns. The piece begins with the subtlety of a set of piano keys played with apparent timidity. This beginning presents itself in sounds one could easily associate with childhood; and its whole structure resembles the (supposed) exploratory experience of a baby who goes about testing his or her curiosity towards the qualities of certain objects found, one by one, as s/he crawls slowly across a playground of amazing sound-making artifacts. Instrument-by-instrument, the piece builds up from a core of simple-but-intriguing sounds until all the instruments come together. Since 9 through 99 unfolds progressively, in that it features the building of a melody, going from simple single-instrument phrases to a harmonious ensemble, its musical technique is rooted in the concept of adding, adding methodically. In a more physical and general sense, however, if this piece were rendered as a drawing, it would be one about a pleasing adventure, brightened by a colorful pallet—as in other Minimalist songs, perhaps by Philip Glass[1]—and embellished with a frame of newness. A piece composed by Peter Adraansz.

The OCADU Project
January 24, 8 pm
The Music Gallery
197 John Street, Toronto

For more information go to:

[1] Boyden, Matthew et al. “Classical Music on CD: The Rough Guide” Ed. Jonathan Buckley. Rough Guides Ltd: London. pp 143.