With each edition of the Graham Sommer Competition, we welcome top artists to premiere the works of the Finalists. This year’s ensemble features individually accomplished solo and chamber musicians who thrive in the world of new music. The trio has been specially created to premiere the original compositions, and we couldn’t be more thrilled to have them. Violinist Amy Hillis, cellist Chloé Dominguez, and pianist Meagan Milatz are the Graham Sommer Trio.
Struck by their electric chemistry and fearless playing upon making their ensemble debut playing a special online concert featuring the music of Canadian composers on May 29, 2021, we knew we wanted to hear more from these dynamic women. In case you missed it, you can catch their performance here.
We caught up with the trio over email to ask them a few questions about what they love about making music with others, and what they’re looking forward to with the GSC new works.
What are you most looking forward to with the premiere of the works in the Graham Sommer Competition?
AMY HILLIS: Anytime a performer gets to share a brand-new work with listeners, it is a privilege to be a part of this event. The composer has worked so hard to set their ideas to music so as a performer, I want to get as close to the composers' ideas as possible. To do this, we as a trio also make our own decisions in a combined effort to bring the pieces to life. The collaboration between the composers who present ideas on a page and the musicians who specialize in bringing music "off" the page in performance is what I enjoy most.
MEAGAN MILATZ: Getting to know more of the landscape of contemporary Canadian composers! I’m curious about how different each work will be, specifically. I’m looking forward to speaking with the composers about their inspirations in writing the music. It’s also cool to think that we will be bringing not one but five brand-new works to life in the span of just a couple of weeks.
What's something you like about working with living composers?
AH: I love being able to ask them questions about the work: why did they write it? What was their inspiration? What are your artistic influences? What are you hoping the audience will feel when they hear this piece? Why did you write this awkward double stop? I also love being able to get to know them as people. A composer's music makes a lot more sense when you get to know the person behind the composition.
CHLOÉ DOMINGUEZ: Of course, it is the possibility to ask questions directly to the composer. The relationship that composers can build with the performers. I am always amazed to see how music notation is an abstraction of a very clear musical idea the composers have in mind. The meaning of notation is sometimes very different from one composer to the other. Our job as performers is to find what is the sound world of each composer and to convey it as clearly as possible.
Could you share 3 things you love about making music with others? OR What’s the best thing/What are some of the best things about making music with others.
AH: I particularly love hearing different interpretations in rehearsal of how a piece can flow. As a violinist, it is easy to get stuck in the technicality of playing the instrument but when you work with other instrumentalists, you are reminded that the direction and sentiment behind the music must be first priority. I also love playing with piano and cello in particular because these instruments can provide a bass foundation that feels oh so good to play on top of. Finally, I enjoy working with other people because everyone brings something unique in their personality to a rehearsal. The most convincing chamber groups are truly more than the sum of their parts because each individual personality contributes to a team vision.
MM: I love being on the same “emotional” page with others when we are making the same music. I love when I feel my collaborators ‘adding fuel to the fire’ with rhythmic energy. I love sharing the excitement/thrill of a good performance with someone.
What's something everyone should know about contemporary Canadian Music?
AH: Contemporary, Canadian (classical) music is full of potential. It cannot be pinned down as one thing, one aesthetic, one "Canadian" style. There are stylistic trends and major influences, yes, but the variety in Canadian music is arguably unparalleled to any other country's. Canadian classical music is also much newer than the classical music repertoire from most other countries. The Canadian League of Composers was established in 1951 — only 70 years ago. Compare that with the European, Russian or American traditions and we have a much shorter history. I see this as an opportunity — we get to forge our own path, create our own "music" without an overbearing sense of nationalism or tradition. In fact, Canadian classical music could be characterized by the internationality of it- whether it be in style or in the identity of the composers themselves. R. Murray Schafer, one of Canada's great composers, says "one of the exciting things about Canada is the interbreeding of traditions" and contemporary classical music in Canada is constantly evolving to do just that.
CD: Everyone should know how Canadian contemporary music is diverse, rich and alive! We have amazing composition programs in the different Universities and Conservatories in Canada. They each have their colours and personalities and it really creates a beautiful palette of genres and styles in the Canadian contemporary music panorama.
Moussa: Trio Volante - The Graham Sommer Trio
Cummings: Go Your Way - The Graham Sommer Trio
Wijeratne: Love Triangle - The Graham Sommer Trio
Ives: Piano Trio - The Graham Sommer Trio
