Group:  The Array Ensemble

CD New Release:

1)Array Legacy Double-CD Celebrates The Array Ensemble’s 35th Anniversary with Live Concert Recordings Featuring Musical Selections By Array’s Prior and Current Artistic Directors; Limited Release: February 15, 2009; Wide Release: March 17, 2009.

CD Wide Release:

2)Array Live CD – The Array Ensemble’s First Live Concert Recording for CD Features Distinctive International Repertoire; Wide Release: March 17, 2009; Limited (Toronto) Release: November, 2005.

Genre: New Classical / Contemporary Classical / New Music

Artists’ Home: Toronto, Ontario, Canada

Repertoire – Array Legacy (* = Array commission / see descriptions below)


1. Magaru (1973) by Alex Pauk / 9:44

2. La Vie de Bohème (1993) by Michael J. Baker / 10:46

3. Ice (1978) * by Marjan Mozetich / 11:26

4. … wings of silence … (1978) * by John Rea / 16:42


1. Steiner Shimmy (2001) * by John Abram

Movement I / 4:40

Movement II / 6:14

2. Trace (2004) * by Bob Stevenson / 16:46

3. Pulau Dewata (1977) by Claude Vivier; Arr. Henry Kucharzyk / 14:15

4. Into Darkness (1992) by Kevin Volans / 12:02

Repertoire – ArrayLive (* = Array commission)

1, Randonée 1: Northwest Passage (1995) * by Walter Zimmermann / 10:43

Diagonal Forms (1991) * by Linda Catlin Smith / 10:31

3. Spectrum 1 (1995) * by James Tenney / 15:04

4. For Si (1991) * by Christian Wolff

I / 5:54

II / 3:03

III / 4:37

5. Aesculus (1992) * by
Jo Kondo / 10:04

Executive Producer / Label                     


Henry Kucharzyk, proprietor / producer

905.274.5057 /

925 Longfellow Ave., Mississauga, Ontario, Canada, M6K 1X9



Sandra Bell, general manager

416.532.3019 /

Suite 218, 60 Atlantic Ave., Toronto, ON, Canada M6K 1X9

The Array Ensemble – Members:

Stephen Clarke, pianist  / Blair Mackay, percussion / Anita McCalister, trumpet

Peter Pavlovsky, double bass / Rick Sacks, percussion / Bob Stevenson, clarinets, artistic director / Rebecca van der Post, violin

The Array Ensemble – Instrumentation:

The Array Ensemble has changed its instrumentation over the years to keep it interesting for audiences and to accommodate guest performers, as well as new and changing members and composer preferences. Currently, The Array Ensemble’s instrumentation is clarinet, trumpet, double percussion, piano, violin and double-bass.

Musicians – ‘Array Legacy’: The Array Ensemble + Guest Artists Michael White, trumpet; Dianne Aitken, flute; Douglas Perry, viola; Paul Widner, cello; and Rachel Thomas, trombone. On The Volans,’ Marie Berard on violin, Barbara Pritchard on piano, and Michael J. Baker conducts.

Musicians – ‘ArrayLive’: Array Ensemble with (then) trumpeter Michael White.

Array Artistic Directors / Curators of Array Legacy: Alex Pauk, Marjian Mozetich, Douglas Perry, Henry Kucharzyk, Linda Catlin Smith, Michael J. Baker (by proxy), Allison Cameron (proxy) and Bob Stevenson.

Recording Studio/s:

Array Legacy was recorded Saturday, May 19, 2007, before a live audience in concert at York University’s Tribute Communities Recital Hall in Toronto, Ontario, Canada, with the exception of Kevin Volans’ Into Darkness, which was previously recorded by CBC’s Two New Hours, David Jaeger producer, and La Vie de Bohème, which was recorded at Wellesley Sound.

Array Live was recorded February 22, 2003, before a live concert audience at Glenn Gould Studio in Toronto, and was streamed via the Internet to live audiences in Ottawa (Ontario), Greenport (Long Island), Pittsburgh (Pennsylvania), Victoria (British Columbia) and St. John’s (Newfoundland). Array later added Northwest Passage by composer Walter Zimmermann, recorded live on another concert at Glenn Gould Studio.

About The Array Legacy Repertoire:

Magaru (1973) by Alex Pauk – one of Canada’s most influential composers and conductors and a founding member of Array, as well as the founding music director of The Esprit Orchestra – explores the flute’s timbral qualities and techniques in a way that is consistent with the tradition of the Japanese Shakuhachi, while the percussion part exhibits sounds and gestures similar to Japanese processional court music.

La Vie de Bohème (1993) was written for Arraymusic’s current artistic director and ensemble clarinetist by then artistic director Michael J. Baker, a composer for concert, dance and film and a new music conductor whose many scores are in the repertoires of major Canadian dance companies. La Vie de Bohème was commissioned by Peggy Baker who also performed a dance solo to the work with support from Canada Council for the Arts. Premiered in 1993 as part of the CIBC Dance Season at Harbourfront Centre, this collaborative work features Array’s current artistic director and clarinetist Bob Stevenson in a breath-taking clarinet solo. A multi-track score with pre-recorded parts for six b-flat clarinets and two bass clarinets, the work has a rhythmic complexity and suppleness, as well as an astringent lyricism that is playfully open to the unexpected. It may best represent Baker’s mature voice. Michael J. Baker died of leukemia September 16 2000.

ICE (1978) by Marjan Mozetich was composed in 1978 for the original Array Ensemble of flute, viola, trombone and piano and premiered March 28, 1980. The live recording for this CD is the work’s second performance. Marjan Mozetich’s music explores a postmodern perspective with touches of the driving minimal, spiritual and new age, and has been characterized as captivating, lush and romantic. A cofounder of Arraymusic, he is among Canada’s most performed and broadcast composers.

…wings of silence… (1978) by John Rea takes its inspiration from John Milton’s only dramatization of conflict between good and evil prior to writing Paradise Lost in Maske (1634) where he wrote that one hears the sounds of night, echoes, insects and the sounds of evil. …wings of silence… is a song of “empty vaulted night” and an echo of the Lady’s distress at being lost in a forest. How sweetly her vocal raptures “float on the wings / of silence, through the empty-vaulted night / at every fall smoothing the Raven doune/ of darkness till it smil’d.” ‘Wings of silence’ represents the rarified moments before a sorcerer descends upon his prey. A recipient of many awards, John Rea leads a triple career as a composer, teacher (he was Dean of the Faculty of Music at McGill University from 1986-1991) and concert producer.

Steiner Shimmy (2001) by John Abram was composed around a fragment of music taken from George Antheil’s 1923 piano work Little Shimmy. It also extracts from theme music composed by Fred Steiner for the Perry Mason television show. “Why make new music out of pre-existing work?” Abram has asked and answered himself: “The great Italian composer Aldo Clementi wrote that he believed music to be almost dead and that the most a living composer can do is to sift through the music of the past, grubbing about for scraps, which may be transmuted into something new.” John Abram was associate director and conductor of the Open Space New Music Series at the Open Space Gallery in Victoria and co-founded Toronto’s Drystone Orchestra; also a member of ARCANA, and a performer with The Array Ensemble and others. Abram has worked as a recording engineer, producer and audio editor, active in multimedia productions and as a composer and writer of musical scores for films. He teaches music technology at Mount Royal College Conservatory.

Trace (2004) by Bob Stevenson was commissioned by Arraymusic with support from the Ontario Arts Council and is dedicated to members of the Array Ensemble. It is concerned with ‘following,’ ‘echoing,’ ‘imitating at a distance,’ ‘dragging,’ ‘crawling’ and how ‘minute concentrations of one element can affect other elements. Array’s artistic director since 2005, Bob Stevenson has been its ensemble’s clarinetist since 1982; since the ‘70s he has performed with most of Toronto’s contemporary music ensembles and was a founding member of the Evergreen Club, Hemispheres, musicdance orchestra, and Critical Band. Stevenson is also the featured soloist on Steve Reich's New York Counterpoint The Array Ensemble CD, Chroma.

Pulau Dewata (1977) composed by Claude Vivier, arranged by Henry Kucharzyk, ‘Pulau Dewata’ means ‘beautiful isle.’ Composed in 1977, Pulau Dewata is one of the most performed works of Canadian chamber music. This is due, in part, to a fortuitous omission by composer Claude Vivier who wrote the work for the McGill Percussion Ensemble but omitted any indication of its instruments, choosing instead to leave the piece open to interpretation. Arranged for a variety of quartets, and groups of many sizes, from modern to baroque to digital, Vivier himself expressed great satisfaction with this arrangement by former Array Ensemble member and artistic director Henry Kucharzyk. Arranged for viola, piano and marimba, this work was originally recorded for Centerdiscs in 1984. Since then, Arraymusic has created other arrangements for its own group’s evolving instrumentation, however the arrangement featured on Array Legacy is the largest with a greater palette to bring out the essential nature of the piece. Pulau Dewata is written mostly as a simple, single line that is harmonized with no more than four voices, and occasionally a second line of counterpoint. It succeeds in nine melodies that owe their inspiration to Vivier's extended trips to Bali and Thailand. Kucharzyk’s arrangement will be published by Boosey & Hawkes. Claude Vivier (1948-1983) is among Canada’s best-recognized and beloved composers. Vivier is said to have discovered a ‘truly new simplicity’ and no other musical voice in Canada sounds like his.

Into Darkness (1992) by Kevin Volans was written in South Africa during the last few weeks of his mother’s life. Volans tried to write without planning anything, taking each step as it came because he wanted to be surprised by the result. Into Darkness, then, references a compositional attitude. Still, the work’s two movements developed into a slightly African kind of Totentanz. Described as “one of the planet’s most distinctive, unpredictable voices” [Kyle Gann – Village Voice, 1998], Kevin Volans studied in Cologne with Karlheinz Stockhausen principally, then became his teaching assistant and, in the mid’ 70’s, became associated with the beginnings of post-modernist music. Following several field-recording trips to Africa, the composer embarked on exploring African compositional techniques, which quickly established him as a distinctive voice on the European new music circuit. The well-known U.S. ensemble, The Kronos Quartet, has championed Volan’s work.


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