Composition Students’ End of Year Concert

April 20th 2016, 8pm

D.B. Clarke Theater


Japheth Sullivan


Samuel Rae Mercier – Electric Guitar
Antoine Bensoussan – Bass

Bozzini Quartet:
Clemens Merkel & Alissa Cheung – Violins
Stéphanie Bozzini –Viola
Isabelle Bozzini – Cello

Emily Carson-Apstein

The Cat and the Cactus

Clemens Merkel & Alissa Cheung – Violins

This piece is a tribute to the late Canadian fiddler and composer Oliver Schroer. Oliver devoted his musical life to experimentation, he had no desire to be categorized and no qualms about leaving conventional musical frameworks entirely behind in the pursuit of humour and whimsy. He was a passionate teacher and prolific composer, and is sorely missed by the community built around his music. In Oliver’s own words: “What if I discovered a music that no one had heard before. What would it sound like? That’s often what motivates me to play.”

Emily is primarily a folk and jazz musician from the West Coast. She is also a spoken word performer with a passion for creating interdisciplinary artistic communities and using art as a medium for social change. She is a songwriter, and aspires to the genre that iTunes labels “unclassifiable”.

Antoine Dewatre


Dao Pham – Piano

My first Nocturne in D minor will be introduced by the talented Dao Pham, a classical piano student that I had the pleasure to meet earlier this year. Written while listening to Joe Hisaishi, Nujabes and of course Chopin, this Nocturne is the very first piano piece that I composed.

Antoine: I’m a 19 years old frog who left Paris for Montreal two years ago in order to study composition. I am glad I found in this city a musical environment pushing me further and further in my musical approaches, and a pool of fascinating musicians from various backgrounds.
I’ve been attracted to compose and play music thanks to Bach, Gershwin, Chet Baker, Glass Animals, Paul McCartney, Bobby McFerrin and many more, all these architects that made me realize how much music is magic. My goal here is to to get the codes and skills which could allow me to become a magician once combined with the right ideas and feelings.

Karine Topalian

Ubi Caritas

Angela Marino & Noémie Niox-Château – Sopranos
Karine Topalian – Alto

Ubi caritas et amor, Deus ibi est.
Congregavit nos in unum Christi amor.
Exsultemus, et in ipso jucundemur.
Timeamus, et amemus Deum vivum.
Et ex corde diligamus nos sincero.

Where charity and love are, God is there.
Christ’s love has gathered us into one.
Let us rejoice and be pleased in Him.
Let us fear, and let us love the living God.
And love each other with a sincere heart.

Ubi Caritas is based on – and includes excerpts from – the Gregorian chant of the same name.

Written for three female voices, it begins in a ¾ time signature, a common feature of sacred music, representing the Holy Trinity. This symbolic language, where the musical elements reflect the words and emotional content of the text, is referred to as word painting. It is present throughout the piece, most notably in the use of dissonances which evoke the mystery of the Divine and express fear (timeamus).

In other places, the word painting is much more obvious, such as the love of Christ, which gathers all people – and all three singers – into one (unum, where the three melodic lines converge onto the same pitch), the free and energetic melodic structure employed to convey the feeling of rejoicing (exultemus), and the heartbeat-like pulses accompanying the “sincere heart” (corde).

Vanessa Zaurrini

A Runner’s Dream

Georges Dimitrov – Piano

A Runner’s Dream is a one-minute journey across a field of seconds, jumping intervals and a lake of dissonant pedal points. Agitation and calmness interject and intersect, exchanging oscillations in secundal harmony in an effort to run, standing still.

Vanessa is a Montreal based music composer and sound designer. Her work has appeared in many interdisciplinary projects including theatre piece Bengal Tiger at the Baghdad Zoo (2015); dance piece Lumen Extra Terram presented at Festival Phénomena (2015); and animation 84 Days in Asia (2015) screened at over 10 festivals around the world. Having recently graduated in Electroacoustic Studies at Concordia University, she is now beginning a specialization at UdeM in arts, creation et technologies.

Tyler Lewis

Die Geister die ich rief

Bozzini Quartet:
Clemens Merkel & Alissa Cheung – Violins
Stéphanie Bozzini –Viola
Isabelle Bozzini – Cello


This piece was perhaps inspired by cinematic music, thinking specifically of the Godfather movies. The piece is laid out in A-B-A form, where section A has a darker mood section B is somewhat lighter. The second time A appears it brings more drama, more power, more mystery. As the music plays the mind is drawn to images of wet city streets driven on by 1940s coupe cars, shadows in the alley, cigarette smoke, and steam rising from a city sewer grate.

Tyler Lewis began music education early in life, learning piano and music theory throughout his school years. This musical foundation has remained as a backbone for much of the sound works that he creates. In January 2013, Tyler traveled to the Rocky Mountains for a winter residence at the Banff Art Centre in Canada. During this stay, the album ‘Tinted Tones’ was written & recorded in a cozy hut with a grand piano, synthesizer, and laptop. Listen at: It was during this residency that he also directed his life back toward University Studies. Currently Tyler lives and works in Montreal, Canada where he is a student in Concordia University’s Electroacoustic studies program. Many of his music compositions have been selected for festivals and concerts both in Canada and abroad, including Montreal’s 60x60 festival, art matters, and Monaco Electroacoustique. His compositions have been used to support visual artists, provide accompaniment to dance performance, sound installations, cellphone applications, and even provide a soundtrack for a documentary. Tyler’s current work is focused on electroacoustic composition and multi-channel sound installations, where his attention to detail and delicate compositional style give his works a subtle character. Tools of choice include field recordings, voice, sound synthesis, improvisation, and audio editing/processing.

Roozbeh Tabandeh

Barfé Noe | برف نو | in Persian: “New Snow”

Roozbeh Tabandeh – Santur

Bozzini Quartet:
Clemens Merkel & Alissa Cheung – Violins
Stéphanie Bozzini –Viola
Isabelle Bozzini – Cello

Born in 1980 in Shiraz, Roozbeh Tabandeh is an Iranian musician and architect. He started learning music with Iranian Santur since he was 8, however he is mostly known as a composer. At the moment he is studying composition at Concordia University music department and improving his performance techniques on violin with Clemens Merkel. During his academic studies in Architecture, he continued music through private courses with some of the most prestigious and well known Iranian musicians including Hosein Dehlavi, Kambiz Roshan Ravan, Manouchehr Sahbai, Arsalan Kamkar, Saeed Lotfi, …

He founded “Hengam Orchestra” and later “Hengam string quartet” in Shiraz which were active through 12 years with performing Iranian and classical music and had several concerts in Tehran and Shiraz.

A selection of his compositions for string orchestra has been recorded and toured in different cities with Iran string orchestra and Dr. Manouchehr Sahbai as the conductor. The same pieces has been recorded and published under the title of “Timeless Moments” album with Manouchehr Sahbai, who was the former conductor of Tehran symphony orchestra.

Some excerpts of the album is available on Soundcloud:


Nicholas Ryan

Poème électronique

For an ensemble of Sibelius notation software

This piece represents an attempt to reimagine  the key formal characteristics of Gyorgi Ligeti’s ” Poème Symphonique: for 100 metronomes” within a more contemporary/ technologically evolved context.

Colin Braziller

Piano Sonata No 1, 2nd Movement

Dao Pham – Piano

Piano Sonata no 1 is an exploration of chromaticism in harmony and melody. I develop the melodic and harmonic material based on triones, chromaticism and sevenths: I expand and contract the intervals through harmonic and melodic development. As the piece progresses, I make more lyrical use of the tritones, semitones and sevenths and use more expanded piano technique to move the piece along and to maintain interest.

The second movement is lyrical and ironic within the context of the piece. The first and third movements are full of tritones, and the overall character of the piece is a contrast between vigour and mystery.

The general form of the sonata is based on Beethoven’s piano sonata no 1.

Colin Braziller was born and brought up in Montreal. He began learning piano at the age of six and eventually discovered pop music. His love of classical music and interest in the popular music world are combined in his compositional style. He unpacks the theories of contemporary composition and presents them in a context that is simultaneously entertaining to the listener and stimulating for the performer and analyst. He is in the final year of his BFA at Concordia, specializing in composition.

Daniel Marquez

The Emperor’s Ballroom

Vanessa Ascher – Flute
Georges Dimitrov – Piano

Antoine Dewatre

Vivid Colors

Antoine Dewatre – Guitar, Flute & Voice
Hugo Stiglitz – Piano

The following prestation came to my mind few days before this evening, listening to the Beatles’ song She Said She Said.
Entitled Vivid Colors, it will bring together bits of songs that I’ve written to create an insight of my works. I will also have the pleasure of welcoming a special guest : Mr. Hugo Stiglitz, fellow frenchman and friend of mine.

David Turri

String Quartet in F minor

Bozzini Quartet:
Clemens Merkel & Alissa Cheung – Violins
Stéphanie Bozzini –Viola
Isabelle Bozzini – Cello

Thomas V. Christie

String Quartet No. 2

Bozzini Quartet:
Clemens Merkel & Alissa Cheung – Violins
Stéphanie Bozzini –Viola
Isabelle Bozzini – Cello

“I brought a little load along with me
A bag of dirty socks and shitty sheets
That left some tiny turds upon the bed
It wasn’t what you meant but what you said
That fostered

A sense of impotence
Not naughty, nor bold
Was neither warm or cold
You caught me staring at your breasts
The secret was wrote
In sweat upon your chest
That things ain’t what they seem

I took a running jump into the trees
That left me paralyzed below the knees
While hanging from a branch and staring down
I saw blue water wash and lick around
Your body

Became a lotus flower
With fat and fleshy roots
That tasted hot and sour
I stuffed them in an orifice
The secret shot out
In cum and bloody piss
That things ain’t what they seem”

– Kris Ellestad

Thomas V. Christie is a composer, musician, and sound installation artist. His work is influenced by experimental and interdisciplinary mediums and their inherent potential for new methods of expression outside, but not evading, the traditional roots of practice. The greater underpinning of his work is focused on the psychology of sound; that is, primarily how sounds become divided and categorized into musicality or noise and how this divide informs an emotional response. He attempts to redefine our notions of what could be considered musical and this most often manifests in the form of experimental extended techniques, multi-channel compositions and installations.


Olga Rozin

Only Light

Mireille Tardif – Conductor
Simon Jutras –Arrangement
Olga – Voice
Vanessa Ascher & Chi Chiu Yeung – Flutes
Isaac Rufus Rosen-Purcell – Clarinet
François Viault – Bassoon
Aiden O’Connell – Trombone
Jean-Philippe Kaya – Piano
Japheth Sullivan –Violin
Avery Bonair – Cello
Erica Bridgeman – Glockenspiel
­Stratsimir Dimitrov – Vibraphone



A moment of appreciation for another’s essence.

Only light is a song written about that magical moment when someone’s presence, or vibe, or word, just that little something about them, inspires you deeply. Perhaps, this is a passing person that you will never see again, will never speak to again, but this little thing about them that, unexpectedly, brightened up your moment, your day, or your life!

Olga, born in Belarus, was introduced to music early on in life through her father who played keyboard in a pop/rock cover band that gained popularity in her hometown of Bobrujisk in the 1980’s. She had discovered a curiosity for all forms of art from a young age, from dance to painting, design, writing and acting. Over time, this led her to explore her creativity not only as an artist but also as a producer and director.

Olga’s musical foundation and inspiration is based in classical music, 90’s R&B and experimental pop. She may be a singer-songwriter, but more than anything, she sees herself as a “universes-creator-storyteller”. With her visual approach to song writing and a rich background behind every character, she calls her style “Cinematic Pop.”

Artist Website (coming soon!):