Category: Works

Danza Habanera for Flute, Oboe, Clarinet, Bassoon and Chamber Orchestra

Instrumentation:

Solo fl.,ob.,cl.,bsn./0.0.0.0./4.2.0.0./2perc./strings
Solo fl.,ob.,cl.,bsn./0.0.0.0./2.2.0.0./1perc./strings

Other Version: Flute, Oboe, Clarinet, Bassoon and Piano

Date: 2008

Duration: 9:00

Notes:

A habanera is a Cuban dance and song named after its capital, Havana. It was first popular in the western world at the beginning of the 19^th century and later became popular in Europe, especially in Spain. The habanera is possibly the most universal of all Cuban musical forms. There are various theories regarding its origin, ranging from Cuban Pre-Columbian music or even the music of the Incas, to a similarity between the habanera and the zortzico Basque air of Spain.

Mr. Royer added Danza to the Habanera title to denote a freer use of form from the traditional habanera. Four solo woodwinds (flute, oboe, clarinet and bassoon) are featured in various groupings, each of which is featured in a short solo cadenza. The Danza Habanera starts with a plaintive air in the key of C Minor and gradually evolves into a happier but dreamier piece in the key of F Major. With a variation of the opening habanera rhythm, the composition (now in G Minor) builds in intensity to reach the climax in an intense orchestra tutti before returning to the beginning plaintive atmosphere.

Commissioning

The Danza Habanera was first performed in 2008 and was commissioned by the Mississauga Symphony Orchestra with the assistance of the Canada Council for the Arts. This work is dedicated to John Barnum and the Mississauga Symphony Orchestra.

Mirage (chamber orchestra)

Instrumentation:

2(2=picc).2.2(2=bcl).2./2.2.0.0./timp.1perc./strings

(alternate part combining timpani and percussion for 1 player)

Other Versions: Orchestra, String Orchestra and Quintet

Date: 2010

Duration: 9:45

Notes:

My intent in this composition is to explore the shifting and illusionary world of the dream state. Mirage begins with a slow meditative introduction representing the act of falling asleep. A solo viola cadenza follows, starting a sequence of musical episodes, each emphasizing different emotions and parts of a dream. As the string orchestra enters, the music takes on a melancholy air with occasional mysterious interludes. In the next section, the music speeds up and takes on a restless and more intense character employing a bluesy and jazz-infused theme. The music moves into a more flowing and serene section before leading into a faster and more agitated section representing the dream taking a more troubled direction. Leading to an unsettling climax, the music abruptly stops leaving silence. The original meditative music returns as the dreamer starts to awake entering that in-between world of wondering if the dream was real or not.

Analysis

Mirage is based on three musical motifs which are continuously evolving and developing, giving the music an unstable yet unified character. The first two motifs are heard in the opening five bars. The third motif is introduced in the first allegro section. The form can be considered a fantasia or fantasy variation.

Motif 1 – ascending perfect 5^th, minor 2^nd, and perfect 5^th (bars 1-3)

Motif 2 – descending minor 2^nd, and major 3^rd, then an ascending major 2^nd (bars 4-5)

Motif 3 – ascending minor 3^rd, major 2^nd, and minor 3^rd (bars 44-45)

Commissioning and First Performance

Mirage was originally composed for orchestra and was commissioned by the Orchestras Mississauga (John Barnum, music director) with the assistance of a Canada Council for the Arts composer residency grant. The re-orchestrated version of Mirage for string orchestra was commissioned by the Orchestras Mississauga and Soundstreams Canada (Lawrence Cherney, artistic director) and again was assisted by the Canada Council for Arts composer residency grant. The first performance of the string orchestra version was on February 19, 2007 at the Glenn Gould Studio, Toronto, featuring the Amici Strings and the University of Toronto Schools String Ensemble conducted by Joaquin Valdepenas.

Suite from the Motion Picture Gooby

(Kevin Lau, co-composer, Chris Meyer, orchestrator)

Instrumentation:

2(2=picc).1.2.2./4.2.3.1./timp.3perc.hp.pn./strings (harp or piano are optional; alternate parts for 2 percussion)

Date: 2008
Duration: 12:14

Main Title – 1:35
Bicycles, Bullies and Bears – 2:35
Space Cart Ride – 1:14
Construction Site Waltz – 1:29
Gooby’s Farewell – 3:53
Finale – 1:28

Notes:

Gooby (DVD-2009)

Monterey Media.com – Theatrical – DVD / VHS

– Genre: Action and Adventure, Family
– Writer, Director, Producer: Wilson Coneybeare
– Cast: Matthew Knight, Robbie Coltrane, Eugene Levy, David James Elliott, Ingrid – Kavelaars

-Composers: Ronald Royer and Kevin Lau (Orchestrated by Chris Meyer)

Imagine if you had a six-foot tall “monster” to help you through the rough times when you were a kid! Willy (Matthew Knight) is terrified about moving into the family’s new house. He’s convinced it’s filled with evil space aliens out to get him. In response to his longing for someone to save him, Gooby (voiced by Robbie Coltrane, Harry Potter’s Hagrid) comes to life as a big, lovable, scruffy creature who quite possibly may be more frightened of the world than Willy. The two new pals embark on hair-raising adventures and learn about courage and the power of friendship all the while with Eugene Levy (Night at the Museum) on their trail. In the end, Gooby fulfills Willy’s wish by bringing Willy and his dad (David James Elliott, “JAG”) together in a heart-warming and exciting climax.

Premiered at the Cannes International Film Festival. Finalist International Family Film Festival, Los Angeles; Platinum Remi Worldfest, Houston, International Film Festival; Official Selection, Sprockets Toronto International Film Festival for Children.

http://www.montereymedia.com/theatrical/films/gooby.html

Film Orchestra

Rhapsody for Violin and Chamber Orchestra

Instrumentation:

Solo vn./1.2(2=ehn).2(2=bcl).2./2.0.0.0./hp./strings

Other Version: Violin and Piano

Date: 2007

Duration: 12:43

The Rhapsody draws inspiration from a variety of European sources, including French Impressionism, German Expressionism, Hungarian folk music, and virtuosic Spanish violin music. Combining all these disparate styles of music, ranging from Ravel and Bartok to Sarasate, allowed me to create a new work based on a traditional and popular form. Composing took place in three comfortable locations, my home in Toronto, my in-laws’ home in the rural Ontario town of Cayuga and my parents’ home in Los Angeles. This also helped in giving me the right ambience and variety of influences for this enjoyable endeavor.

Commissioning

The Rhapsody was commissioned and first performed by the Orchestras Mississauga (John Barnum, music director) with the assistance of the Canada Council for the Arts.

Recorded by Conrad Chow on Cambria Records in 2012.

Mirage (orchestra)

Instrumentation:

2(2=picc).2.2(2=bcl).2./4.2.3.0./timp.1perc./strings

Other Versions: Chamber Orchestra, String Orchestra and Quintet

Date: 2007

Duration: 9:45

Notes:

Analysis

Motif 1 – ascending perfect 5^th, minor 2^nd, and perfect 5^th (bars 1-3)

Motif 2 – descending minor 2^nd, and major 3^rd, then an ascending major 2^nd (bars 4-5)

Motif 3 – ascending minor 3^rd, major 2^nd, and minor 3^rd (bars 44-45)

Commissioning and First Performance

Sinfonia Concertante for Piano Trio and Orchestra

Instrumentation:

Solo vn.vc.pn./2(2=picc).2.2(2=bcl).2./2.2.2.0./timp.1perc./strings

Other Version: 2^nd movt., Fantasia for Piano Trio (2007)

Date: 2006, revised 2010

Duration: 24:40

Introduzione – 6:30
Fantasia – 10:00
Rondo – 8:10

Notes:

My starting point for composing the Sinfonia Concertante was to acknowledge the anniversary of the births of two great composers, Mozart and Shostakovitch, in 2006. I decided I would play with the differences between the elegant and refined music of the 18^th century Mozart and the more emotional and intense music of the 20^th century Shostakovitch. As I developed my composition, I decided not to quote or imitate the music of Mozart and Shostakovitch but to emphasize the idea of contrast. Using melodic, harmonic, rhythmic, textual and instrumental as well as emotional and stylistic differences, I would explore this idea of contrast.

The first movement, Introduzione, has a strong Latin American element (especially from Argentina) with aggressive rhythms. The movement starts with an orchestral introduction featuring the compound rhythm of a 3/4 bar followed by a 5/8 bar building into a dramatic solo cadenza for the three soloists. The contrasting second section is in a playful and simpler 6/8 time while the more intense third section includes elements of the Spanish fandango.

The second movement, Fantasia, starts with the pianist plucking and strumming inside the piano creating a mysterious and atmospheric mood which is then continued by the orchestra. The following neo-romantic section features the solo cello and violin in an expressive melodic passage while the piano plays a more ornamental and supporting role. The music progresses to a playful scherzo section based on an Icelandic rhythm. When I started working on the Sinfonia Concertante last spring (2006), I heard a lecture by the Icelandic composer, Tryggvi Baldvinsson and discovered that Icelandic folk melody commonly uses the complex rhythmic pattern of 4 plus 3 plus 4 plus 2. I was intrigued and went home and composed the melody which ended up in the Fantasia. The movement ends with an atmospheric and dramatic cadenza for the three soloists ending with the solo cello imitating a seagull call.

The third movement, Rondo, begins with music influenced by 20^th century French styles (including Ravel), and features both graceful and virtuosic playing from the soloists. The contrasting middle section starts with a mysterious mood with Latin American elements building towards a dramatic piano climax with cascades of notes showing a jazzy influence. The Rondo ends as it began, gracefully.

Commissioning

Sinfonia Concertante for Piano Trio and Orchestra was commissioned by the Gryphon Trio and Orchestras Mississauga, supported by a Canada Council for the Arts Composer Residency Grant. The first performance was on November 25, 2006, at the Living Arts Centre, Mississauga, with the Gryphon Trio, the Mississauga Symphony, and conductor John Barnum.

Water and Light

Instrumentation:

2(2=picc).2.2(2=bcl).2./4.3.3.1./timp.2perc.pn./strings

Date: 2007
Duration: 16:00

Mist and Rainbows – 6:20
Moonlight – 4:20
Dawn – 5:20

Notes:

Water and Light, Fireworks at the Falls seeks to explore the interaction between the water and light of Niagara Falls at different times during a summer day and night using orchestral music and fireworks in harmony (though this music can be performed without fireworks). The music and the fireworks seek to represent this interaction using specific programmatic (more closely descriptive) elements as well as more abstract (poetic) forms of expression. My intent was to create a framework in which music and visuals converge into a “form” or new “whole” that, as in opera and ballet, is more than the mere juxtaposition of art forms.

Water and Light consists of three continuous parts starting in the afternoon with Mist and Rainbows, celebrating the ever present mist above the Falls and its famous rainbows viewed from a distance. The second part, Moonlight, starts mysteriously as the spectator enjoys the calm of Victoria Park away from the Falls at night. As the spectator comes into the sight of the Falls, the music and fireworks grow in intensity as the power of the Falls at night illuminated by the moon becomes apparent. Once again, the spectator leaves for more calm. The third part, Dawn, starts very quietly and grows in intensity as the sun rises above the beautiful sight of the Falls. As day breaks, the musical material from the first movement returns before going into the final coda section celebrating the majesty of the Falls during a bright summer day.

Go to Articles and Interviews in the main menu for an article about Water and Light.

Commissioning and First Performances

Water and Light, Fireworks at the Falls was commissioned by the Niagara Symphony with the Assistance of the Canada Council for the Arts. The world premiere performance took place on the evening of July 1, 2006 at Victoria Park, Niagara Falls with fireworks to celebrate Canada Day. Water and Light was also performed in the afternoon of July 1 without fireworks at St. Catharines Market Square.

Acknowledgements

The composer would like to acknowledge and thank the following individuals:

Daniel Swift, music director and conductor of the Niagara Symphony, who instigated this project and worked diligently to make it a reality. As well, his enthusiasm, support and encouragement were a source of inspiration for the composer.

Sarah Wood, Niagara Parks Commission Event and Public Relations Manager, for helping to develop this project.

David Whysall, of David Whysall International Fireworks, for supporting this project and working with the composer in developing the artistic plan for Water and Light.

Chris Meyer, fellow composer, pianist and friend, who helped with the development of the piano part.

A Festive Overture

Instrumentation:

2(2=picc).2(2=ehn).2.2./2.2.0.0./timp.1perc./strings

(alternate part combining timpani and percussion for 1 player)

Other Versions: Orchestra and Septet

Date : 2005

Duration: 7:10

Notes:

Festive Overture is based on, and inspired by, a short overture that I wrote for a young people’s theatre project called A Storyteller’s Bag. Based on three Ojibway stories, this project was developed by Peggy Hills McGuire, music director of The Chamber Music Society of Mississauga (and principal second violinist of the Mississauga Symphony). Besides the overture, I wrote the music to the story called The Star Lily.

After I was commissioned to compose a symphonic overture for the Mississauga Symphony, I had the idea of lengthening The Storyteller’s Bag Overture from three to seven minutes and expanding the instrumentation from seven musicians (clarinet, string quintet and percussion) to a full orchestra. After discussing this idea with the music director of the Mississauga Symphony, John Barnum, I began the process of transforming The Storyteller’s Bag Overture into what would become the Festive Overture. This resulting Overture changed a simple three-part ternary form into a more developed and complex sonata allegro form, allowing for several variations of the introductory material and the first or main theme (heard first by unison strings). The second theme (first heard by the solo clarinet) also received a second and varied appearance. Since the original idea of both overtures was to capture some of the joyful enthusiasm and wonder of youth, I was very pleased when the Hamilton Philharmonic Youth Orchestra asked to co-sponsor the commissioning of the Festive Overture.

Commissioning and First Performances:

Festive Overture was co-commissioned by the Mississauga Symphonic Association and the Hamilton Philharmonic Youth Orchestra. The Mississauga Symphony, John Barnum music director and conductor, gave their premiere on March 27, 2004 at the Hammerston Hall, Living Arts Centre, Mississauga, Ontario. The Hamilton Philharmonic Youth Orchestra, Glenn Mallory music director and conductor, gave their premiere on May 22, 2004, at the Great Hall, Hamilton Place, Hamilton, Ontario. This was part of a special 40^th Anniversary Concert celebrating the foundation of the orchestra and Glenn Mallory’s directorship. The Hamilton Philharmonic Youth Orchestra received funding for the commission as part of an Ontario Trillium Grant project.

Travels with Mozart

Instrumentation:

2(2=picc).2(2=ehn).2.2./2.2.0.0./timp.1perc./strings

(alternate part combining timpani and percussion for 1 player)

The Tarantella (Finale) can be performed as a separate concert piece.

Other Version: Wind Ensemble (14 players)

Date: 2005

Duration: 15:36

Theme “Bei Männern, welche Liebe fühlen”
Variation I, London- Symphony no.1
Variation II, Munich- Minuet
Variation III, Mannheim- The Mannheim Orchestra
Variation IV, Rome- Allegri’s Miserere
Variation V, Prague- Furiant
Variation VI, Vienna- TheTurkish Influence
Variation VII, Paris- Gavotte
Finale, Naples- Tarantella

Notes:

Travels with Mozart: Variations on a Theme from “The Magic Flute” seeks to explore the ways in which exposure to a variety of cultures can positively affect an artist and his music. Wolfgang Amadeus Mozart is an excellent example of a composer who came in to contact with diverse cultural influences in the second half of the eighteenth century. Leopold Mozart knew that raising his prodigiously gifted son in provincial Salzburg would limit his musical development (and future employment). Leopold introduced his son Wolfgang to a lifestyle of travel which would see Wolfgang tour nine countries and visit over two hundred European cities. Wolfgang spent one third of his lifetime traveling, experiencing a great variety of cultures, music and musicians. Mozart was also eager to learn about and be influenced by cultures outside of Europe. The Turkish influence on Mozart’s music is well known through such compositions as the opera The Abduction from the Seraglio, the Piano Sonata in A Major, K330, (with the famous Rondo alla Turca) and the Violin Concerto #5. Beda Hubner, librarian at St. Peter’s in Salzburg wrote in his diary on November 29, 1765:

There is a strong rumour that the Mozart family will again not long remain here, but will soon visit the whole of Scandinavia and the whole of Russia, and perhaps even travel to China, which would be a far greater journey and bigger undertaking still….

Obviously, the Mozart family did not have this experience, but it is interesting to consider that they apparently thought about making these trips.

Like Mozart, Royer has been profoundly influenced by exposure to a diversity of cultures, music and musicians through travel, recordings and living in multicultural cities such as Toronto and Los Angeles. In Travels with Mozart: Variations on a Theme from “The Magic Flute”, Royer references and pays tribute to a variety of cultural influences from North and South America to Europe, the Middle East and Asia.

Each variation is titled after a city in which Mozart spent a fair amount of time and is based on a musical element or idea that was present in that city during Mozart’s time.

Variation No. 1 – London: Mozart’s Symphony No. 1

Mozart wrote his first symphony in London at age 8 or 9 influenced by J.C. Bach and C.F. Abel.

Variation No. 2 – Munich: Minuet

Mozart wrote numerous minuets during his life and composed some excellent examples of this genre in Munich.

Variation No. 3 – Mannheim: The Mannheim Orchestra

The Mannheim orchestra was famous for its technical expertise including dramatic dynamic changes and the crescendo. The orchestra was also one of the first groups to include clarinets and overall, greatly influenced Mozart.

Variation No. 4 – Rome: Allegri’s Miserere

Allegri’s Miserere was only allowed to be performed in the Sistine Chapel. Mozart heard this music and remarkably, was able to write down the music from memory.

Variation No. 5 – Prague: Furiant

The Furiant is a common Czech dance that emerged as a form late in Mozart’s life. The minuet from Mozart’s symphony no. 40 uses rhythms similar to ones found in a Furiant.

Since the rhythm of a Furiant is similar to some common Latin American rhythms, Royer added other Latin American elements including the use of conga drums.

Variation No. 6 – Vienna: The Turkish Influence

Turkish military music was popular in Vienna (and other European cities) and was a well known influence in Mozart’s music. Royer wrote this variation in the style of Turkish classical music of the Ottoman era.

Variation No. 7 – Paris: Gavotte

The Gavotte was a popular French dance. Mozart wrote a couple of Gavottes including one for a Paris performance. Royer combined the Gavotte with elements of Gamelan music from Bali.

Finale – Naples: Tarantella

A popular Neapolitan dance named after the tarantula spider, its origin predates Mozart’s time. Included in this variation is a quote from Beethoven’s Variations for cello and piano based on the same Mozart theme as Royer’s composition. Mozart met Beethoven as a young man and was impressed by him.

The Commissioning of Travels with Mozart

For the 250th anniversary of the birth of Mozart in 2006, Canadian composer Ronald Royer was commissioned to compose by a group of five orchestras, with performances in three countries, Travels with Mozart: Variations on a Theme from the Magic Flute for chamber orchestra. The five orchestras were: Jyvaskyla Sinfonia (Finland), Patrick Gallois, conductor; Peterborough Symphony Orchestra (Canada), Michael Newnham, conductor; Scarborough Philharmonic (Canada), John Barnum, conductor; International Symphony Orchestra of Sarnia/Port Huron (Canada/U.S.A.), Jerome Summers, conductor; and Toronto Sinfonietta (Canada), Matthew Jaskiewicz, conductor. Sinfonia Mississauga (Canada), John Barnum conductor, also supported and performed Travels with Mozart.

In 2004, the Jyvaskyla Sinfonia co-commissioned (with Orchestras Mississauga) Ronald Royer to compose Dances with Time, which was the first time a Canadian composer’s music was performed by this excellent professional chamber orchestra. Due to the success of this event, music director Patrick Gallois and the Jyvaskyla Sinfonia commissioned Mr. Royer to compose a new work to celebrate the 250th anniversary of Mozart’s birth. In Canada, the Peterborough Symphony and conductor Michael Newnham took the lead in developing this project, inviting other orchestras to take part in commissioning and performing this new work. The International Symphony gave the United States premiere.

This project was made possible in part by a grant from the Laidlaw Foundation (based in Toronto, Ontario, Canada).

In 2016, Ronald Royer arranged Travels with Mozart for a 14 player wind ensemble for the Scarborough Philharmonic Orchestra’s Canadian Panorama concert and recording.

The Bobsled

Instrumentation:

3(3=picc).2.2.bcl.2./4.3.3.1./timp.3perc.hp./strings

Date: 2005

Duration: 7:00

Notes:

“The Bobsled” is in three continuous parts: 1) Preparation; 2) The Race; 3) Victory.

The music is based on the following description of a bobsled race:

1) Preparation: The driver of the Canadian Olympic Team starts his preparation for the race two hours before the start by walking the course for an hour and then warming up with the rest of the crew. He is eagerly awaiting the race and is in high spirits. Ten minutes before the race, he mentally visualizes the race; he has memorized every detail of the race course. When the four man team is in place for their turn, a green light goes on and they have sixty seconds to start. They take off their warm-up clothes and put their bobsled in the starting position. With one forward push and a pull back of the bobsled, they start the race.

2) Race: The four men push-start the bobsled as quickly as possible and jump in. There is a very fast acceleration as the bobsled will reach a speed close to 145 km in less than 30 seconds. The driver is in front and has to expertly guide the bobsled by using ropes connected to polished steel runners. The driver struggles with the violently shaking bobsled to keep it on the perfect racing line for straight ways and turns. At times, the driver is totally focused on guiding the bobsled and tunes out the noise of the ride. The bobsled hits a hole in the ice in one of the curves and the driver fights to maintain control. After succeeding in this fight, the driver again is in tune with the bobsled with the finish line quickly approaching. Passing the finish, the brakeman engages a metal claw which digs into the ice to quickly stop the bobsled.

3) Victory: The four man team jumps out of the bobsled, celebrating the victory of qualifying for an Olympic race. There is discussion of how to improve, but they also enjoy the thrill of a successful bobsled run.

Musically, “The Bobsled” uses two main themes throughout the composition. The first theme, representing the thrill of bobsledding and the desire to do it well, is heard during the beginning of the piece. The second theme is first heard when the music slows and two solo clarinets are featured. This theme represents the intense concentration and the love of the sport needed to successfully drive a bobsled. For the race, an unusual orchestral instrument is used—the “ocean drum” which sounds similar to a bobsled running on ice. When the bobsled hits the hole in the ice, the first theme is inverted to represent the challenge at hand. Throughout the race, the two themes are surrounded by downward pushing musical materials for obvious reasons.

The composer would like to acknowledge and thank Greg Haydenluck, driver of both two and four man bobsled races for the Canadian Olympic Bobsled Team (from 1984 to 1992), for his help and advice on bobsledding.

Commissioning and First Performance

“The Bobsled” was commissioned by and is dedicated to John Barnum and the Mississauga Symphony and was made possible as part of a Canada Council for the Arts composer residency grant.

First performance: December 17, 2005, Living Arts Centre, Mississauga, Mississauga Symphony, John Barnum conductor.