Hunting for treasure at the Paul D. Fleck Library

by on February 13, 2012 in Arts, Classical, General

 

Here at the Paul D. Fleck Library & Archives at The Banff Centre, there’s a treasure hunt underway.  That is, if you regard little chicken-scratch-like markings to be treasure, the way we do.

The hunt is part of an Archives Society of Alberta-funded grant project to arrange and describe the records of Hungarian musician and composer Zoltán Székely, who came to The Banff Centre as an artist-in-residence in the 1970’s and stayed through his retirement, passing away here in 2001 at the age of 97.

In Hungary, Székely was a friend and collaborator of one of the most significant composers of the twentieth century, Béla Bartók.   He was also lead violinist of the famed Hungarian String Quartet for over thirty years.

At the Banff Centre Székely coached a new generation of string quartets, and was instrumental in establishing the Banff International String Quartet Competition in 1983:  His musical discernment, reputation and connections ensured that it was immediately received with the highest level of respect in the music world.  He performed in gala concerts during the Summer Arts Festival and drew leading Bartok scholars to Banff for a special Bartok centenary celebration in 1981.   He was one of the key faculty who, under the direction of Tom Rolston, transformed The Banff Centre’s music programs from a primarily amateur summer school to a world-renowned centre for creative excellence

The records in the archives include a few boxes of archival manuscripts and photographs.  He also left 63 boxes of published scores and books, which may be added to the library’s collection.

In each box, a few of the items have markings that make them unique and therefore archival:  inscriptions to Székely by the composer or author, or little annotations that represent his notes to himself on how to play a piece of music.  While a score lays out the outline of the work, musicians have a key role in interpreting it.  Székely’s interpretations, especially of Bartók’s music, are highly significant, since he worked with Bartók himself.

The Archives is fortunate to have Buffy Knill, a librarian and former musician, to work on this project.  She understands the little chicken-scratches and is very good at spotting the significant ones.  Because of her expertise, she had the privilege of working in our basement storage room for a couple of weeks, going through the 63 boxes looking for treasure.

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Design details: boulderpavement

by on February 6, 2012 in Arts, General, Literary Arts

Founded in 2010, boulderpavement is the Banff Centre Press’ online journal of arts and culture.  It features an array of dance, music, video, sound and visual art, critique, poetry, fiction and non-fiction, contributed by artists from  around the world. In 2011, boulderpavement received an Honourable Mention for Best Digital Design from the National Magazine Awards, and was also a Canadian Online Publishing Award finalist for Best Website Design.

Recently, boulderpavement celebrated the launch of its fifth issue, and I caught up with Saki Murotani, website designer and developer, to ask her what goes into the creation of boulderpavement’s award-nominated design.

Q: How did you get involved in the project?

A: While at The Banff Centre as an animation work study, the Editors, Steven Ross Smith and Nick Hutcheson, approached me with an idea for an online, multidisciplinary journal.  They asked if I’d be interested in collaboratively designing the magazine “look” with Banff Centre staff, Price Morgan and Kenny Lozowski, workstudy Susan Clarahan and a graphic designer Erin Ignacio.

Q: Tell me about your design concept for boulderpavement.

A: Each issue has a specific theme – sometimes the theme’s not literal, so I design by feeling or what I think looks right.  The theme for Issue 5 was journey, so I tried to create a design that would complement the content and contributors.  I started working on the background design and icons first, and then I went from there.  I also like to reflect the seasons in my design.  Since this recent issue is out now, I tried to incorporate winter themes into my design.

Q: What’s the difference between designing for print and online?

A: I think the number-one difference is that with web design, you have to make sure everything enhances the user-friendliness.  Designs for the web need to be visually appealing, and they need to clearly communicate the message for the user.  Print designs also need to enhance the message or story, but it won’t interact with viewers in the same way as web designs

Q: As a designer, what inspires you?

A: I am also an animator, and I’m inspired by films and animations with amazing visual effects.  They’re mind-blowing, and they inspire me to try to make designs or animations as cool as I think they are.

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The Magic Banff Formula with Henk Guittart

by on February 2, 2012 in General, Music & Sound

“Why can I do things here that I cannot do in my studio at  home?”   

Henk Guittart working with musician in residence. Photo: Donald Lee.

Henk Guittart working with cellist Adrian Fung of the Afiara Quartet. Photo: Donald Lee.

During a snowy afternoon chat over chocolates I caught up with Henk Guittart, Director of our Fall and Winter Creative Music Residencies, to hear all about his Magic Banff Formula.

How long have you been the Director?
Officially, I started October 2010 but truly I started long before that; organizing faculty and adjudicating applications in the spring of that same year. I began coming to the Centre as guest faculty in 2006 and sort of grew into the role.

What is one of your highlights since you took over as Director? Without being a cliché, my highlight is this week – having pianist Ronan O’Hora here and this week’s population of resident artists.  That is how I live and think in the moment. 

You’re in Banff from October to March. What do you do during the summer?
Our first summer in Canada my wife, Carolien, organized a retreat for us on Vancouver Island.  We fell in love with the Island.  We come over early every summer from Holland to go back there.

What do you miss most about Holland when you’re in Banff? 
I like to say there’s nothing wrong with missing something.  So it would only be bad if my joy of being in Banff would be overruled by missing the sea, my friends in the Netherlands, and my family. 

What do you think The Banff Centre offers musicians that other residency programs don’t?
There really is no competition to this program. It is open to artists in all varieties and in all stages of their career. The length of the fall/winter program, 20 weeks is unheard of – 24 hour access to your own studio, amazing performance opportunities, incredible recording facilities, and warmth and support from your peers.   There are also all the subconscious benefits – fantastic isolation, geographical setting, and incredible scenery – the full experience of being here.  A Magic Banff Formula that leaves people asking, ‘Why can I do things here that I cannot do in my studio at home?” 

What’s your Magic Banff Formula?
Aside from working with the musicians and faculty, I love being outdoors – walking in the snow and being able to take in the landscape.    

 

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5 Minutes with Dallas Green

by on February 1, 2012 in Music & Sound, Podcasts

Dallas Green of City and Colour sat down for an interview to talk performing, song-writing, and taking photos on tour.

City and Colour played the Eric Harvie Theatre. Photo: James Arnold.

On the 21st day of their cross-Canada tour, City and Colour stopped at the Eric Harvie Theatre to play a sold-out show. Guitarist and lead-singer Dallas Green’s fragile voice and vulnerable lyrics were able to captivate the large audience, providing the right setting for a truly memorable show.

Before the band performed, Dallas sat down in a small room back-stage to talk about his inspirations, performing with people like Gord Downie and Ron Sexsmith, and how he feels when compared to Joni Mitchell or Neil Young.

Dallas Green's heartfelt and haunting lyrics captivates a packed crowd. Photo: James Arnold.

My song-writing process is…I sit and play guitar and whatever pops into my head is what becomes a City and Colour song.

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Producer to director: Lori Lozinski

by on February 1, 2012 in Film & Media, General

If you’re anything like me, you’ve spent a weekend watching the Food Network’s hit TV series Eat St. So you can understand my excitement when I caught up with former Eat St. producer, Lori Lozinski, who was here at The Banff Centre last week for the Women in the Director’s Chair workshop.

Director Lori Lozinski (right) on the set during Women in the Director's Chair. Photo: Kim Williams.

Lozinski, who refers to herself as a creative producer has been working in the film industry for the past 10 years, and recently was the Producer for the Genie Award-winning film Savage, directed by Lisa Jackson.

As someone who’s worked closely with film directors throughout her career, she’s contributed creatively to the style and concept of each project, which is why she’s become more attracted to directing over the past few years.  “I want to focus on having control of the creative vision,” she says. As she was finishing two intensive weeks on set, I asked her to tell me about one thing that stands out about the WIDC experience.

“WIDC has given me a greater appreciation for working with actors,” she told me. “I didn’t know how intense and hard it was going to be to watch the actors then watch the frame, and then adjust the performance. In WIDC, how I work with actors as a director is more creative and collaborative than anything I’ve ever done.”

Women in the Director’s Chair is an intensive, hands-on, annual workshop created by producer Carol Whiteman and run by the Creative Women Workshops Association. Its focus is on casting, rehearsing, blocking, on-set and post, and working with professional actors, cinematographers, designers, editors, and crews.

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Guest post: Actor Glen Matthews

by on January 30, 2012 in Film & Media, General

 

Toronto-based actor Glen Matthews, who's in the acting company for the 2012 Women in the Director's Chair workshop.

It’s now more than a week since I travelled to The Banff Centre and I’m still incapable of catching my breath. You could probably blame the 4,800 foot altitude in Banff (or perhaps my extended absence from the treadmill), but after two weeks of breathlessness, only one explanation remains: I think I’m in love…

It was a month ago when I received word that I had been selected to join the 2012 Women in the Director’s Chair Acting Ensemble. Talking to many of my peers in Halifax who, in the past, had participated in various programs at The Banff Centre, it didn’t take me long to get excited about my inclusion in the ensemble.

Since starting the workshop two Sundays ago (on the 15th), there wasn’t much time to stop and smell the proverbial roses; every day was jam-packed with exhilarating, exhausting challenges that kept us on our toes.

Early in week one, we had a day of auditioning (I literally mean a full day: I auditioned six times), after which the ensemble was assigned to work with their directors on the Main Scenes where the majority of our collective efforts were to be placed. I was chosen by directors Celia McBride and Sara McIntyre  to help bring their fantastic scripts to life.

We also worked on Guerilla Scenes. We were given scripts that intentionally had very little to no set-up and back story, in an attempt throw us off our game and get our filmmaking-feet wet before launching into the Main Scenes.

Glen Matthews in director Sara McIntyre's scene, called Sixy Fingers. Photo: Don Lee.

The night before shooting the guerillas, WIDC Producer Carol Whiteman gave a speech about protecting the filmmaker’s “freedom to fail” which really stuck with me. The next day, during the Guerilla Shoot I felt inspired to attempt things that I ordinarily wouldn’t try. Small things, but things nonetheless; immeasurable to the naked eye, but [personally] groundbreaking .

After we wrapped up the Main Scenes (which went phenomenally), it seemed as though things were finally slowing down…a bit more bitter than sweet. 

A phrase that’s been said again and again around here has been “It’s about the process not the product”, and you truly feel that. It’s something I’ll certainly try to hold onto as I try to acclimate (see what I did there?) back into the soul-crushing “real world” of show-business.

Thank you everyone in Banff. It’s been an absolute pleasure working with all of you.

Glen Matthews (www.GlenMatthews.ca) is a professional actor, currently based out of Toronto, with roles in HOBO WITH A SHOTGUN, THE CORRIDOR, MOBY DICK, ROLLER TOWN and HAVEN. He was recently voted Halifax’s BEST FILM/TV ACTOR by the readers of The Coast Halifax’s Weekly, and nominee for a Robert Merritt Award (Theatre NS) for BEST MALE LEAD PERFORMANCE for his work in 2010′s LOGAN AND I. Watch his demo reel here.

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