Category Archives: News

Congratulations To The Fifth Annual Roberta Stephen Fund Recipients

Alexandra Fol (Montréal) and Hyun Hee Deborah Park (Burlington) are this years’ recipients of support from the Roberta Stephen Fund. 

The Roberta Stephen Fund offers support to a Canadian woman composer aged 36 or older for professional development such as further studies, conferences, or workshops, or composers’ festivals. Established by the late Calgary composer and publisher Roberta Stephen, the award is administered by the Association of Canadian Women Composers.

Winner of the Roberta Stephen Composition Award is Dr. Alexandra Fol, composer, pianist, organist and conductor, whose work has been performed by the Sofia Symphony Orchestra, the McGill Symphony, and the New Score Chamber Orchestra, and appears on CDs released by Disques Benedictus (Canada) and Gutenberg Publishing (Bulgaria). Her award will support the composition of a new work, Opposing the Motion, for large ensemble and voice, written at the invitation of El Perro Andaluz, an ensemble based in Dresden, Germany. Opposing the Motion is a setting of former Australian Prime Minister Julia Gillard’s famous 2012 anti-misogyny speech.

Hyun Hee Deborah Park is a performer/composer/conductor who has won numerous honours as a pianist, including the 2017 Concert Artists International Virtuoso Competition. She is the recipient of a Roberta Stephen Fund Bursary to support her studies with Dr. Thomas Reynolds exploring the connections between jazz and spirituality with a view to developing creative ways to reimagine personal and communal flourishing. She will explore jazz as an art form of resilience; in James Cone’s words, a manifestation of “the will to be, despite nonbeing as symbolized in racism and hate.”

Indigenous Song Panel – Healing, Reconciliation, Partnership.

Indigenous Song – Healing, Reconciliation, Partnership
Tuesday, Nov. 2 at 8:00 pm EST by Zoom, with:

Jean Becker — Inuk, founder of Goodhearted Women singing/drumming group, Senior Director, Indigenous Initiatives at University of Waterloo with tribute:   Woman of the Drum: A Tribute to Jean Becker and Mino Ode Kwewak N’gamowak – The New Quarterly Digital Edition
Kelly Laurila — Sámi, song-keeper & member of Goodhearted Women, PhD, Lecturer, Renison/UWaterloo, School of Social Work
Beverley McKiver — Anishinaabe, ACWC composer, composer, pianist, educator, website here.
Karen Sunabacka  — Métis, ACWC composer, Associate Professor, Conrad Grebel/UWaterloo  website here.
(Photo: Good Hearted Women Singers at Sound in the Land 2014, by Alan Morgan)

Stories from ACWC Members- Interview with Brenda Muller by Pat Morehead

This article explores the history of the Ardeleana Chamber Trio under the
guidance of Brenda Muller. This article answers the questions submitted by
Patricia Morehead.

From her roots as a classically trained cellist, Brenda Margaret Muller has
gone on to create conceptual art events that weave together poetry, music
and song. Working as a Musician, Poet, and Composer, as well as Artistic
Director for the past 33 years, Brenda has created inter-arts events across
the province, founded and directed the Ardeleana Chamber Music Society,
and released 6 recordings with her trio, Ardeleana, including a CD of her
original cabaret songs, Wolf At My Door, and the first CD to feature only
music by Canadian women – Spinners of Starlight (1997).

Pat Morehead questions; answers, Brenda Margaret Muller, March 29, 2021

Why did you choose the cello as your primary musical instrument?

My Grandfather was one of the first Champion Fiddlers of Grey County – although
he considered himself a violinist, as in those days the term “fiddle” was
derogatory, and in truth he was the concert master of the very first Orchestra in the
Saskatoon area. He had arrived there, incidentally, by covered wagon during the
thirties when the prairies were nothing but dust and wind. My earliest memories
are sitting beside him in my deceased Grandmother’s rocking chair at his last farm
in Dundalk, Ontario, rocking and tapping my toes as his large, arthritic hands
somehow caught the spirit of the tunes. I was not allowed to dance in the house as
my grandparents were staunch Methodists, and my Grandmother’s spirit was
always present it seemed, but I would rock so hard that he would say “must be time
to milk the cows”, and with this anytime-of-day signal we would head up to the
barn and play and dance for his 100 head of cattle. It did seem to help the cows let
down their milk, and yes, I believe I can still milk a cow by hand.
In Ontario at the end of grade 6, prior to attending Junior High, we were all given
an ear test, and those with the “best” ears were put into strings. My father, who
loved cello, mercilessly played me Jaqueline du Pres in a performance of the Elgar
Cello concerto, until the opening theme was an ear worm for me! When fall rolled
around, I walked into class with a plan to be assigned cello. Fortunately, I was too
tall to play violin but not tall enough for bass – so I didn’t have to use my plan.
Cello it was – I was so excited I could think of nothing else for weeks. Of course I
immediately learned thumb position so I could play fiddle tunes – or tried to
anyway. I carried the cello on the long walk home from school EVERY night, in
love with all its possibilities – happily reducing my already meagre practice time at
the piano!

Give a short history of the Ardeleana Trio. For how many years did the trio
perform and an approximate number of public concerts and where?

The Ardeleana Trio was formed in 1985 – and became incorporated as the
Ardeleana Chamber Music Society in 1987. Laurie Glencross, a consummate
flutist, and I, a recovering writer and cellist (recovering from the un-creative
confines of university performance training and formal essay writing), believed
that chamber music was the best way to advance our cause as musicians. In our mid
–twenties at the time, we made a pact with each other to promote new music and
become the best musicians we could by practicing together daily for three hours.

Our process was extremely important to us – an hour a day of unisons and rhythm
drill, then a stint of playing “easy music” but making sure it was perfectly in tune
as a warm-up, and then slow-motion tuning and complex rhythm practice, coupled
with learning to hear the subtleties of chord tuning together so that melodies grew
organically from within harmonies or counterpoint and so sound colour was an
integral part of each piece. We practiced for hours in “neutral” or with what Janos
Starker called “negative sound” until we could feel the sounds moving inside us in
a way that informed our overall interpretation of the piece. It was a
phenomenological approach, very much under the influence of Method Acting, but
for a nervous performer, which I was at that time, it worked.

Most importantly, Laurie taught me to laugh at my mistakes instead of irately
beating myself up every time we fell out of tune or struggled with impossible
rhythms by fiendish young composers. Although we no longer play together (after
17 years of intensive rehearsing and performing) I will always be grateful to her
for the gift of laughter. Together we developed a way of working that incorporated
a great ability to move forward and not get stuck on who was right and wrong in
rehearsal. Thank you Laurie – that philosophy is still around in the Ardeleana
Chamber Music Society to this day. It is indeed our saving grace.

Somewhere along the way I realised I was a frustrated composer and poet more
than a performer, and so began to try to find ways to combine poetry, new music,
dance and art to create conceptual art events or “happenings,” as the 60’s would
have dubbed them. The process was indeed more important to me than the product.
I loved the relationships we had with our network of composers, artists, musicians
and dancers, and never got tired of experimenting and developing new possibilities
with them.

Exploring the interfaces between music, art, poetry and dance is still endlessly
fascinating to me – I am currently working on a “Creative Community Happens
Here” project we initiated with a group of sixth graders in Humphrey, Ontario –
and we are moving between cave paintings and whale songs to discover archetypes
to sustain us in the pandemic – all from material I have been working on since the
inception of Ardeleana in 1987.

Laurie and I teamed up with different pianists over the years – often for 5 or 6
years at a time, and polished the repertoire for our instrumentation to the fullest
extent possible. We commissioned and premiered 120 – 150 works of music by
young Canadian composers over the course of the next 17 years. The Ardeleana
Trio averaged close to 30 concerts a year – most of them with small audiences, but
because of their various interdisciplinary initiatives and premiers, the programs
were a vital part of the new music scene at that time. Many young women
composers wrote for us, knowing we would workshop or perform their music when
no one else would take them seriously.

We improvised with poets and painters regularly – and that became an important
part of our interdisciplinary language. The results of our inter-arts work was
showcased in our “A New Kind of Concert” series – held 4 times a year in Toronto
on Fridays and Saturdays, and then in Sharon, Ontario on Sunday afternoons. Each
performance featured at least one work of new music and one artist of a different
discipline, to varying degrees of success.

Ardeleana also produced 6 recordings and CD’s, including Spinners of Starlight,
the first CD to feature only music by Canadian Women. Bonnie Shewan Burroughs
(Jeffries at the time) joined us in the early 1990’s and became our landmark pianist. She brought discipline, skill and incredible musicality to our trio. Other CD’s included Carol Ann Weaver: Daughter of Olapa, which I co-produced with Carol Ann with Ann Lindsey, now an award winning folk, jazz and rock violinist, and Wolf at My Door – my own CD of original “Cabaret” songs. It was quite a network – Terril MaGuire from Toronto Dance Theater, Alexandra Caverly-Lowery, then a professor at York University in Dance, M. Travis Lane, still one of Canada’s leading poets from Fredericton (no zoom – she flew into see us occasionally) actor/chanteuse and painter extraordinaire, Randi Helmers, and strong women composers like Ann Southam, Mary Gardiner, Carol Ann Weaver, Jana Skareky, Jean Anderson Weunsch, Kye Marshall, Nancy Telfer, amongst others, were writing and working with us. Conversations and rehearsals were
stimulating and lively and flowed with big ideas. Mary and Ann were my main
thinking buddies, with Mary often letting us rehearse at her house on her
Bösendorfer piano.

As time progressed, and I became increasingly experimental, we rehearsed more
and more at a little hall in the Theater District of Toronto known as Artword
Theater, and became their “musicians in residence.” Working in the world of
actors, I began to through-write works with poetry and music and create
interdisciplinary theater events. Gradually the two founders, Laurie and I, grew
apart, with Laurie wanting to focus on just playing, and me wanting out of the
performance/product-driven mentality. After 17 years Laurie went back to get her
doctorate in the United States where she became a flute professor, and I went broke
on a long and winding production called the Artemis Café! I went back to teacher’s
college at 45 and worked my way out of debt, teaching high school part-time for
14 years and finally retiring in 2014. Somehow I have ended up running an
orchestra and community arts hub in Parry Sound, and find myself busier than ever
as I try to integrate new music into the local arts scene here.

I know you performed in Alaska. How did this happen and an anecdote about the
trio’s participation would be interesting? (The event in Alaska organized by
Suzanne Summerville brought together three American Women composer formed
organizations in the USA (International League of Women Composers, Women in
Music and American Women Composers) that met in Fairbanks, Alaska, and went
on to become the International Alliance of Women in music.)

Our trip to Alaska was the trip that really made us take our role as promoters of
Music by Canadian Women seriously. We realised we had to when we could not
find ANY grant money to support us from either the Ontario Arts Council or the
Canada Council. Nobody considered an International Festival of Music by Women
in any way artistically significant.

Women’s music was seen as inconsequential by many at the time. An influential
reviewer in the Star all but made fun of us for being women, and made patronizing
comments about the feminine nature of the group. Funders looked at us askance
for being middle-aged women, and ‘mouthy’ women at that.
We had been rejected by the Toronto Arts Council for another project the year
before, and had come to expect failure in grant applications. We appealed the TAC
decision regardless. The appeal committee was chaired by composer Harry

“Why did this group not get money?  Isn’t this exactly what we are supposed
to be funding?” he asked.  A committee member, who happened to be the principle French Horn of the Toronto Symphony Orchestra, replied that he had “wondered why we didn’t have any men in the group.”  I quipped that “It was odd, but all the men just seemed to leave”, which for some reason they all found hilarious, and they granted us our first grant of $1000.  It was an enormous amount at the time! They were the only funders behind us for years – and the trip to Alaska a few seasons later was way beyond the scope of their grants.

Finally, after exhausting all the possibilities, we turned to Ann Southam and Mary
Gardiner and pleaded for assistance. They had set up a fund to help women
musicians a year before that (it may have been intended for the AWC – not sure)
which contributed $2000, enough to pay our air fare to Alaska. The Governor of
Alaska at that time provided us with accommodation and food at the request of the
organisers of the festival.

Within 20 minutes of our arrival in Alaska we were to be on stage in front of an
audience of over 1000 people, performing Spirit Essence by Mary Gardiner and
Jean Anderson’s Trio– both commissioned by us and recorded on our CD. There
was a mad scramble to find our suitcases and concert attire as we got off the plane.
I didn’t own a pair of decent shoes at the time, and didn’t have access to my old
sandals easily, and so without much thought about it, I went onstage barefoot –
simply not done in those days. I still remember hearing the Italian Console
sneering at my lack of shoes after the concert! Most countries had sent dignitaries
to the event – but not Canada. The moment is still clear in mind – it only amplified
for me the total lack of support from either our provincial or federal government,
adding to the subtle embarrassment of having to ask the Governor of Alaska for
financial support we were unable to muster at home. It was very odd to be at such a
prestigious event with no financial support from your own country. Most of the
women composers came however – taking the coastal cruise to Alaska. Seeing
them there was indeed incredibly wonderful.

During the festival I was kept beyond busy. I learned and performed a piece on a
daily basis. We did one noon hour recital of our own music, in which we played
Southam, Telfer, Anderson, Skarecky and repeated Mary Gardiner’s piece. On the
way to the concert I ran into Gerhard Weunsch, who smiled his rapacious smile,
and said “Don’t wear your shoes!” “I’m not going to!” I said, and we shared a laugh. I didn’t, and didn’t for the rest of almost my entire career with the trio. I still don’t if I can avoid it!

Why did the group decide to make its first recording?

Ardeleana needed something to get our name out in the Toronto Music Scene – we
needed to establish that we were more than just a flaky group of women wandering
around doing poetry, music and dance in concerts. We sold the old 6’ grand piano
in our warehouse studio in Newmarket to raise funds, and also pre-sold a few
copies of the CD – maybe 5 or 6 copies.

The pieces on Spinners of Starlight were part of an interdisciplinary show we
developed for our concert series in Toronto: High Aprons – the Journey Songs of
Canadian Women Pregnant with Music. This carefully interwoven conceptual art
piece included selections from a long poem entitled “The Witch of the Inner Wood”
by a wonderfully witty woman poet from New Brunswick, M. Travis Lane, as well as poetry by several Canadian poets, including myself. I had developed an improvisationall -composed setting for Travis’ work, in collaboration with Laurie Glencross, our flutist, and the woman actor working with the group, Randi Helmers. The set, or installation, for the performance was a collection of dead and diseased Sumac trees from a deserted property near my small house in Sutton, Ontario. A simple lighting design of three footlights cast fantastic shadows when placed beneath the sumacs’ gnarled trunks and branches. We were able to rent 3 footlights from Christie Lights for $18 per performance, and they provided the most perfect touring lighting imaginable.

I would get to our venue, usually a church, about two hours in advance of a
performance, with the sumacs piled carefully in a borrowed truck. After unloading
them, I would screw the sumacs into the heavy stands I had prepared for them. I
would set them up on pews or chairs, so that their fungus-covered, twisted
branches would wind up the pipe organs, window frames, pillars and pulpits like
dancing stag-horns at a pagan ritual.

It was before the official release of the CD that we went to Alaska. We set up a
mini-tour for ourselves on the way, and performed the entire
poetry/music/installation show at three or four venues. The shows were generally
well received, but just the title of the poem with the word “witch” in it was nearly
enough to get us evicted at intermission when we did a performance at a Mormon
Church in Vancouver! Witches and sumacs were not welcome.

A few years later in Ottawa, we were relocated from the National Arts Center
concert due to renovations at the Centre, to prestigious St. Andrews Anglican
Cathedral, opposite the parliament buildings. At the doorway to the Cathedral a
minister stood glaring at the trees. He greeted us with determined, folded arms,
saying “You can’t bring those trees in here! This is where the Queen comes when
she visits!”. I argued that the trees were no dirtier or more pagan than a Christmas
tree, and got nowhere. I finally flung my hands over my head and cried out
dramatically “THESE are not trees! These are the bones of the earth! These are
Ezekiel’s bones risen again from the dead! Let them in!” And, to my surprise he

That performance was sponsored by Violet Archer, and she loved the trees.
Needless to say, the poor farm boy who drove our trees to Ottawa on his Dad’s flat
bed truck nearly got a ticket for holding up traffic in front of parliament buildings,
where he anxiously circled and repeatedly stalled, flashed his lights hopefully, and
awaited delivery instructions.

Initially, there were all sorts of discussions as to what to call the CD. To begin
with, CD’s were a new technology at the time. This made everyone slightly
worried – it was all a lot of change. People in our team were squeamish about the
original title as some thought of pregnancy as “dirty.” The final discussion, with all
composers except Nancy Telfer present, was held around the big wooden table at
Mary Gardiner’s home. Exasperated after what seemed liked endless nit-picking
over names, I looked at Ann and said “We should call it Sex Sells” and Ann added
“and Crime Pays!” We had a fit of giggles, and then I suggested they leave it with
me over night, as officially I was the director. I finally decided to take the title
from a poem I wrote for an old woman who lived near me, and with whom I had
enjoyed many an early morning walk through spider-web, dew-laden grasses. We
had used it in the High Aprons event just before playing Nancy Telfer’s piece –
and Mary and Ann agreed on the name. Jana approved whole heartedly, as she was
a poetry fan, as did Jean, and I didn’t dare consult anyone else.
It was only after we released the CD that I got a phone call from David Parsons,
who at that time was working for the Canadian Music Center in Toronto. “Do you
realise this is the first recording to feature only music by Canadian Women?” he
said. I had no idea.

The release of the CD was at the Heliconian Club in Toronto. I did not expect
anyone to be there, but I wanted to thank the composers somehow for their faith in
us and their incredible music. I had no money for bouquets for all the women
involved, and so I bought a dozen roses from one of the street people selling
flowers at the corner of Rosedale Valley Road and Bayview on my way to the
club. I had one rose for each composer, and each person involved – with one extra
for Mary Gardiner – who had done so much to make it all possible.
We set up at the club, still somewhat discouraged by the total lack of reviews and
support for the CD, slow sales and the lengthy time between the tour and
the launch. There was a silence amongst us as we waited, and then one by one,
what seemed like every prestigious woman musician in Toronto, every woman
who had helped move us forward, walked up the centre aisle on the old blue-tiled
linoleum floor, and sat down. The club was packed but still oddly hushed. It was a
small hall, seating only about 120, so some had to listen in the vestibule and a few
more were in the courtyard and on the street. I vividly remember how surprised we
were at the palpable respect – we were just not used to it. We were fighters –
always struggling desperately to be heard as women and artists. This listening, this
quiet, was entirely new for us. It was born of a generous solidarity – a respectful,
caring solidarity I had never felt before in my life.

I still remember my eyes filling with tears when Pearl Palmerston, the first woman
violinist to be co-concert master of the Toronto Symphony, walked in. Mary
introduced the trio somewhat tersely – I think herself emotional, and when we
started to play the room was still completely hushed. We played Mary’s piece, and
Ann’s, and a few selections from everyone else’s. When we finished playing
everyone stood up, and greeted us not so much with thunderous applause, as with
thunderous respect. We had finally done it – with the release of the CD, women’s
musical voices were being heard in a way that represented genuinely the ethos of
the women’s movement at that time. It was a moment when the world shifted a
little – and made a little more space for women, for our way of working as artists,
and for who we all were together.

Tell us of any major roadblocks along the way that might be interesting to know.

A complete lack of funding due to the fact we were unconventional, early thirty’s
women ( and not wearing a ton of make-up) and playing new music was the
biggest obstacle. The times were just shifting from hierarchical power dominated
structures to the possibilities of collaborative, innovative business models based on
more traditionally feminine values. It was decidedly NOT politically correct at
that time to do what we were doing – everyone was intent on making music fit a
business model based on a hierarchical male norm. Although I was director in
name, we operated largely by consensus, and worked through artistic ideas in a
very collaborative way. That meant nothing was cut and dried – and this was
definitely not acceptable to the arts councils. That being said, David Parsons and
the CMC and the ACWC were great friends to us – Carol Ann found us concerts at
Conrad Grebel College, Jana was unflagging in her support and composing of
pieces for us (and in insisting after she heard some of my songs that I join the
ACWC), and Laurie and I created events and played concerts all over Ontario.
Mary and Ann were indispensable – our last performance as a trio was at Mary’s
funeral, with Ann present. Ann Edwards was the pianist at that time.

The CD was recorded in three days – as I stated earlier, we had to sell our studio
grand piano to raise funds. We played for our Thanksgiving dinner that weekend
by playing at a hotel restaurant north of Toronto where an adventurous young chef
agreed to turkey dinner as payment – after being in the studio for 8 hours. We used
to think that if anyone else had to record under the circumstance we did they just
wouldn’t do it – but we loved it in the end. Living close to the edge has its merits –
there is a freedom and synchronicity in all that happened, and it kept us alive

How to acquire the recording would be interesting for the membership of ACWC.
I believe the CMC has a few recordings left. I have 5 and some copies of the first
printing that didn’t have the songs separated properly. The CD had to be re-printed
by Sony. It is really time to re-release the CD – and give it a second life – even if
we do a small run. 2023 will mark 30 years since the release.

Brenda Muller

Winners of 2021 ACWC Initiative Fund – Véronique Girard, Emily Hiemstra, Thais Montanari

Véronique Girard, Emily Hiemstra and Thais Montanari are the three co-winners of the 2021 ACWC Initiatives Fund celebrating the ACWC 40th Anniversary and relating to music-making during COVID-19.

Véronique Girard‘s project, “Mentorat – Université de Montréal” is a mentorship project for students of Université de Montréal initiated by the Cercle de Composition (CeCo) de l’Université de Montréal (UdeM) in partnership with the Association of Canadian Women Composers (ACWC).  This project offers a unique chance to both men, women and gender nonconforming students from UdeM to work directly with one of three composer-mentors from the ACWC: Cecilia Livingston, Lieke van der Voort and Sophie Dupuis. Participants will benefit from the support of their mentor as they will initiate and develop a new musical composition or a sound art project. This project will benefit both the mentors and the mentees by connecting established ACWC composers with students from Montreal. This will give visibility to the ACWC in Quebec while offering a chance for the community of UdeM to learn more about the organization.  The ACWC will reach a wider audience to promote the work of women composers.

Véronique Girard is a visual and sound artist, an educator and vocalist whose work has been showcased at film festivals and concerts in Quebec and internationally.  She uses a corporeal approach to create animated images and sound environments in which technology becomes a support for the affirmation of human vulnerability. Guided by movement, she seeks to reveal the authenticity of the body and of the voice in a way that is both enchanting and advocative. She is interested in the imperceptible, kinaesthesia, contemplation and intimacy.  She is completing the digital music program at the Université de Montréal.  See more here.

Emily Hiemstra‘s “Solo Viola Commissioning Project 2021” involves a call for scores from ACWC composers for solo viola pieces which Hiemstra will perform and video-record for presentation on the ACWC website.  This project will support the music of ACWC members, and also allow for wider ACWC promotion.

Emily Hiemstra is a composer and violist whose music has performed throughout the USA and Canada, and heard on CBC Radio. As violist, she has performed at festivals around the world including Banff Centre for the Arts, and the North American Viola Institute. Her orchestral and operatic background as a performer has deepened her understanding of colour and texture which she readily applies in her compositions to create clear and innovative works.  See more here.

Thais Montanari‘s project “Moi_Espace Public” consists of a series of videos created by people who identify as women and wish to share their personal experience of how they express themselves and behave in different public spaces, including virtual ones.  It brings together  collaborative work between the Montreal-based composer Thais Montanari, and Brazilian composers Nathália Fragoso and Sara Lana whose work as artists is affected by the pandemic reality and the lack of assistance for the artistic class in Brazil. The videos will have images and sounds inspired by the statements of those composers.  The project hopes to capture the vision of women in arts within the pandemic context, encouraging them to express themselves creatively and with courage.

Thais Montanari creates interdisciplinary and collaborative projects, often including political and social ideas. Her work mixes instrumental and everyday sounds, as well as music and image.  She is completing her doctorate in Composition and Sound-Art at l’Université de Montréal.  She also works with free improvisation.  See more here.

ACWC 40th Anniversary

Happy 40th Anniversary, ACWC!

In 2021, the ACWC/ACC will celebrating 40 years since its inception in 1981. This is a time to look back to the past as well as look to the future of the organization and of the music of Canadian women.  Many events and activities are being planned.

Concerts and Events

From This Place: A series of short videos portraying compositions inspired by and dedicated to the place where we live

 Members of the Salish Sea Chapter (Vancouver Island), have created music videos to celebrate and honour where they live. Three of the videos are available now.  Click here to find links to the videos, to read more about this project and each of the videos.

Recent Online Events and Concerts:

Ann Southam’s Piano Music – Amelia Yates, piano – Lecture/Recital
Monday, Dec. 13 at 8:00 pm EST by Zoom

ACWC member, pianist Amelia Yates presents a lecture/recital, “Ann Southam’s Solo Piano Music – A Performance Guide” on Monday, December 13 at 8:00 pm, EST by Zoom.  This lecture/recital is both a  performance as well as a summary of Dr. Yates’s research, including an overview of Southam’s wide-ranging music for solo piano.  Ann Southam (1937-2010) is one of Canada’s greatest contemporary composers. Best-known for her minimalist music, she composed twelve-tone, minimalist, jazz, and electroacoustic music for a variety of mediums including orchestral, chamber, and solo instrument. A significant portion of her creative output is for solo piano and this presentation demonstrates her wide-ranging approach to composition while also focusing on her minimalist music. It promotes Southam’s music and emphasizes her significance as a contemporary Canadian composer.  To watch go here.

 ACWC Panel:

Indigenous Song – Healing, Reconciliation, Partnership
Tuesday, Nov. 2 at 8:00 pm EST by Zoom, with:

Jean Becker — Inuk, founder of Goodhearted Women singing/drumming group, Senior Director, Indigenous Initiatives at University of Waterloo with tribute:   Woman of the Drum: A Tribute to Jean Becker and Mino Ode Kwewak N’gamowak – The New Quarterly Digital Edition
Kelly Laurila — Sámi, song-keeper & member of Goodhearted Women, PhD, Lecturer, Renison/UWaterloo, School of Social Work
Beverley McKiver — Anishinaabe, ACWC composer, composer, pianist, educator, website here.
Karen Sunabacka  — Métis, ACWC composer, Associate Professor, Conrad Grebel/UWaterloo  website here.
(Photo: Good Hearted Women Singers at Sound in the Land 2014, by Alan Morgan)
To view, go HERE.
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“Building Up” virtual concert in partnership with the CMC, Oct. 7, 2021

As part of our 40th anniversary events, the ACWC/ACC in partnership with the Canadian Music Centre Ontario division presented “Building Up”—a virtual concert celebrating women and gender non-conforming composers and performers supporting each other through their creative practices,  featuring ACWC composers Catherine Bevan, Rebekah Cummings, Sophie Dupuis, Heather Hindman, and Cleo Palacio-Quintin, as well as composers Monique Jean,  Naomi McCarroll-Butler, Roxanne Nesbitt.  Performers: Amanda Lowry (flute), Naomi McCarroll-Butler (bass clarinet/alto saxophone), Yang Chen (percussion), and Cecilia Lee + Stephanie Orlando (piano).  Watch HERE!

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More Events and Concerts:

Augmented Trio Promotions presents Afterglow, August 28, 2021

As part of Augmented Trio Promotion’s, August Tunes of Passion concert series, the ensemble ‘on the hat, will be celebrating the 40th anniversary of the ACWC/ACC in their streamed concert Afterglow. The concert includes works by members Leila Lustig, Sylvia Rickard, Christie Morrison and Diane Berry, and will be coming from beautiful Triangle Mountain, in Victoria.

On the ‘hat, consists of Marnie Setka-Mooney, soprano, Diane Berry, flute, and Kathryn Le Gros, piano, and they have often included works by local, women composers in their eclectic mix of musical genres.

The concert was streamed on Saturday, August 28th, at 7:00 pm (PDT), and is now available to watch HERE.

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SHHH!!! Ensemble ACWC 40th Anniversary Concert, April 24, 2021

April 24 @ 9:00 pm – 10:30 pm

An ACWC Anniversary special event concert was on April 24, 2021 at 9pm Eastern. The concert presented music by ACWC composers Patricia Morehead and Monica Pearce, HERE.

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“Hell in a Handbasket to Heaven on Earth: Music by Atlantic / Canadian Women Composers,” March 8, 2021

Performed by concert pianist Jennifer King, found HERE.

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“Muses Today” – Women in Music Festival, May 22, 2021, Moscow, Russia – An International Panel

This International Panel with Carol Ann Weaver, Janet Danielson and Bekah Simms, along with German archivist Mary Ellen Kitchens (a Board Member of Internationaler Arbeitskreis Frau und Musik/Archiv Frau und Musik, with her presentation, “Closing the Gender Gap in Music: Advocacy for Women in Music at the Archiv Frau und Musik (Frankfurt),” available here) as well as French and Russian contributors, focused on women’s musical work internationally.   The fest, organized by Anastasia Koshkina, also invited the Canadian ambassador to Russia to address the panel.

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Soundscapes and More Panel: Saturday, May 15, 2021

The Soundscapes and More Panel,  Saturday, May 15, 2021 featured soundscape/electronic composers, Hildegard Westerkamp, Tina Pearson and Carol Ann Weaver.   Hildegard Westerkamp is well known for her works that bring in the acoustic environment, while Tina Pearson is an innovative composer whose work often focuses on breath, attention states and altered performance practice. Carol Ann Weaver is a board member for CASE (Canadian Association for Sound Ecology) and composes using environmental sounds and field recordings. This panel is a part of the ACWC/ACC’s 40th anniversary celebrations.  Listen to this panel HERE.

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 “Beginnings” – A panel discussion of the history of the ACWC/AFCC, Feb. 27, 2021

With founder Caroline Lomax, previous Chair Elma Miller and pianist/associate member Elaine Keillor, hosted by Emily Hiemstra. Listen HERE.

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ACWC Playlists

We’re celebrating music from ACWC members all year long!

You can find all the ACWC Anniversary Playlists here


Stories from ACWC Members

Interview with Brenda Muller by Patricia Morehead can be found here!

Interview with Sylvia Rickard by Patricia Morehead can be found here!

Did You Know?

Euphrosyne Keefer (1919-2003)

Euphrosyne Keefer was born on June 9, 1919 in Eastbourne, Sussex, England. From 1936-41 she attended the Royal Academy of Music studying composition, voice, piano and viola.  Her promising operatic career at Sadler’s Wells was cut short by the war and she left London.  In 1942 she married a Canadian artillery officer and came to Canada in 1945 as a war bride.  She and her husband raised five children while living in northern Ontario and Quebec.  A move to Toronto enabled her to resume her musical career as a composer, pianist and teacher.  In 1977 she moved to Vancouver, where she continued to compose solo and chamber music, song cycles, choral works and piano music.  Her music has been performed in Canada, the United States and the U.K.  After a brief illness, she died in 2003.

Euphrosyne Keefer is the only one of our Did You Know composers, who was an active ACWC/ACC member.

Please Donate

If you would like to help support celebrations for the ACWC/ACC 40th Anniversary, including special concerts, workshops, projects, publicity and online initiatives, please donate by clicking on the Donation button below. Your support would be very helpful! Any donation of $25 or more will receive a tax receipt. Thank you!

Brenda Margaret Muller, Winner of 2020 ACWC Initiatives Fund

Brenda Muller

Brenda Margaret Muller has been chosen as the winner of the 2020 ACWC Initiatives Fund for new creative work projects or compositions. Muller’s project relates to her Riversongs Festival of community-based music, through which she will, in turn, sponsor an award to an ACWC member for a new composition for the Riversongs Festival. The new work will be scored for community orchestra and/or community orchestra and choir. Muller is founder and Artistic Director of the Riversongs Festival, which occurs in Parry Sound, Ontario. The festival, involving Whispering River Orchestra and Community Choir, is tentatively scheduled for August/September, 2020, but will be further rescheduled if required, due to coronavirus.

Muller’s project relates to her Riversongs Festival of community-based music, through which she will, in turn, sponsor an award (named ACWC COMPOSITION AWARD) to an ACWC member for a new composition for the Riversongs Festival. The new work will be scored for community orchestra and/or community orchestra and choir. 

Muller is founder and Artistic Director of The Riversongs Festival which occurs in Parry Sound, Ontario. The festival, involving Whispering River Orchestra and Community Choir, is tentatively scheduled for August/September, 2020, with full regard to the coronavirus situation at that time. If need be, it will be rescheduled accordingly. This annual event celebrates authentic Canadian and Parry Sound creative community through music, poetry and art. The small string orchestra
produces five to six concerts annually, typically with two in June that bookend this unique week of workshops in composition, string playing, art, poetry, speaking
Anishinabek, musical yoga coffee houses, banner painting and a
musical Canoe and Sail Regatta. The music from the ACWC will be used to
sponsor one of four Riversongs awards for compositions for community
orchestra and/or community orchestra and choir. However, ACWC is only sponsoring Riversong’s ACWC-focused award, which will be granted to another ACWC member.

Although the event is traditionally held during Summer Solstice, the upcoming festival is tentatively rescheduled for late August into September, around the fall equinox, dependent on the coronavirus situation at that time.

About Brenda Margaret Muller:

From her roots as a classically trained cellist, Brenda Margaret Muller has
gone on to create conceptual events that weave together poetry, music and
song. Working as a Musician, Poet, and Song-writer, as well as Artistic
Director for the past 32 years, Muller has created inter-arts events across
the province, founded and directed the Ardeleana Chamber Music Society, and released 6 recordings with her trio, Ardeleana, including a
CD of original cabaret songs, Wolf At My Door, and the first CD to feature
only music by Canadian women – Spinners of Starlight (1997). She is the creator of two story operas – Melissa’s Song and Jonathon’s Storm, both of which have
toured across the province to the critical acclaim of enthusiastic young
people. Muller has commissioned and premiered over 150 works of music by
Canadian composers. She holds an Honours degree in Music Performance from
the University of Western Ontario, a Mus. Ed and Honours Specialist in Music
from O.I.S.E. University of Toronto. She is currently the founder and
director of the Whispering River Orchestra, and Riversongs Festival, a 10
day Community Celebration of Music, Poetry and Art in Parry Sound, Ontario.

Information on previous 2019 Initiatives Fund winner, Stephanie Orlando here.

Laura Hawley & Maren Lisac, recipients of 2019 Roberta Stephen Composition Award

Laura Hawleymarens-headshot-17.jpg

Canadian composers Laura Hawley (left) from Edmonton and Maren Lisac (right) from Montreal are recipients of the 2019 Roberta Stephen Composition award.

Laura Hawley is a composer, choral conductor and pianist. She holds an M. A. in music theory from the University of Ottawa, and has also studied composition at the Banff Centre. Hawley was the founding artistic director of the Hypatia’s Voice Women’s Choir, and winner of the National Council of Canadian Muslims Community Builder award for her work, “Live, Love, Share.” She is regularly commissioned by some of Canada’s most distinguished choirs, including the Elektra Women’s Choir, the Canadian Chamber Choir, and the Avanti Chamber Singers. Now residing in Edmonton, Hawley will use her award to further her development as a composer through private studies with Dr. Allan Bell, focusing on instrumentation. She hopes to explore innovative ways of combining instrumental and choral ensembles, and to write chamber and orchestral works.

Maren Lisac is a composer who lives in Montreal. A graduate of Simon Fraser University’s School for the Contemporary Arts, her works have been performed by the Dissonant Disco Collective and the Saxophilia Quartet. She plans to use the award for Bad Mirrors, a collaborative work for JUNO Award-winning guitarist Gordon Grdina and live electronics which will be premièred at the 21st-Century Guitar Conference in Ottawa this August. Bad Mirrors will feature the guitar tuned in an approximation of the Indonesian pelog scale, a scale related to the order of the universe, with distorted reflections of the guitar sounds manipulated by Lisac in real time through playback software. The work will thus be a sonic commentary on how distorted views of reality give rise to extreme ideologies.

The Roberta Stephen Award offers support to a Canadian woman composer aged 36 or older for professional development such as further studies, conferences, or workshops, or composers’ festivals. Established by Calgary composer and publisher Roberta Stephen, the award is administered by the Association of Canadian Women Composers.

Mary-Catherine Pazzano, New ACWC Web Manager

Mary-Catherine Pazzano, ACWC Web Manager Photo: Brian Lockyer

Mary-Catherine Pazzano has been chosen as the new web manager of ACWC, effective March 1, 2019.

Mary-Catherine Pazzano is a vocalist and music educator based in Kitchener, Ontario. At home in both classical and jazz worlds, Mary-Catherine’s performance highlights include: Birdland (NYC), various venues in Harlem, the Uptown Waterloo Jazz Festival, The Rex (Toronto), and Jazz Bistro (Toronto). She has also toured New Zealand, and has been a soloist with the Kitchener-Waterloo Symphony. Mary-Catherine has been lucky to share the stage with jazz notables such as Billy Stritch, as well as the world-class chamber ensemble Penderecki String Quartet. Mary-Catherine holds an Honours Bachelor of Arts in Music and Drama from the University of Waterloo and a Bachelor of Education from University of Toronto/OISE.

Find out more about Mary-Catherine at:

Stephanie Orlando, 2019 Winner of the ACWC Initiatives Fund

Stephanie Orlando, ACWC SoundBox Manager

Stephanie Orlando has been chosen as the first winner of the new ACWC Initiatives Fund Award, which supports members who are composing/producing new creative work projects. Orlando’s project is titled ‘wave’ is composed for flute, percussion, and electronics. It explores negative thought patterns with an influence of new wave music. The funds will be used for equipment rental and travel to the premiere in New York City in June.

Stephanie Orlando (b.1993) is an emerging composer and pianist based in Toronto. Her music has been performed worldwide by such performers and ensembles as the junction Keyboard Collective, Thin Edge New Music Collective, Penderecki String Quartet, Arcady Singers, The Rosewood Consort, Jeff Stonehouse, and Olivia Shortt. With experience writing for a variety of styles and instrumentation, her catalogue contains works for orchestra, chamber ensemble, piano, voice, and electronics. Stephanie has composed music for a variety of mediums including opera, theatre, dance, and film. Her music is filled with traditional, contemporary and pop culture influences. Stephanie holds a Master of Music in Composition from the University of Toronto and a Bachelor of Music in Composition from Wilfrid Laurier University. She is currently pursuing her DMA at the University of Toronto.