I am proud to call myself a friend and fan of Canadian born composer Justin Taylor. Taylor lives in Toronto, Canada and is quite visible in the modern classical world. He cites his main inspirations as most of the French and Russian composers of the 20th century. Taylor seems paticularly enamoured with Darius Milhaud and his experiments with polytonality.
This is not his latest work, but it was written in September of this year for conductor Alun Francis. It is a piece which is very much appropriate this time of year "La Premiere Neige D'Hiver" (The First Snow of Winter). He posted the demo of his orchestration along with a video he animated with manager Julio Colorado on YouTube recently:
Justin Taylor born 1984 is a composer born in Brandon, Manitoba Canada and currently living in Toronto.
I tend to embrace both the English and French parts of my homeland, but that is out of sheer love for our culture and diversity of its peoples. But if one were to ask if I write music that is predominately Canadian, I'd give that a resounding no. My music reflects my own personal tastes.
Michael Colgrass is a composer born 1932 in Chicago, currently living in Toronto, Canada.
I’m not trying to pull any tricks or dazzle anybody. I’m trying to make a music which convinces me, and which is interesting to me. It’s as simple as that.
Igor Stravinsky born 17 June 1882– 6 April 1971 was a Russian composer, pianist, and conductor.
Music, by its very nature, is essentially powerless to express anything at all, whether a feeling, an attitude of mind, a psychological mood, a phenomenon of nature, etc…. Expression has never been an inherent property of music. That is by no means the purpose of its existence.
Elliott Carter born December 11, 1908 is a two-time Pulitzer Prize-winning American composer born and living in New York City.
I began to be interested in many of aspects of composition besides the harmonic structure. I felt that if I used a very - not simple, but easily manipulated harmonic structure then I could focus on other aspects of composition, like the spacing of chords and musical characterisation.
And you see one of the very basic problems of all this is I'm really writing contrapuntal music so that these chords are seldom notes played at the same time. And already this ends up causing a conflict of purpose. The problem has always been for the me the desire for a kind of contrapuntal and polyrhythmic structure, which couldn't sound the chords as simultaneous attacks. It involved all kinds of intellectual conflicts. I mean if you have one line going one way and another line coming against it, how do you decide which of the intervals you consider part of the structure?