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New concert series gives emerging Manitoba composers a platform.
Being a young composer is no easy path. Getting music heard and performed at a high level can feel like an uphill battle. A university degree in composition is often just the beginning, and stepping beyond the academic world into the broader musical community can be a daunting leap.
Thankfully, a new initiative is working to change that. The Contemporary Music Interactive (CMI), founded by violinists Sophie Reimer-Epp and River Sawchyn, is designed to support emerging Manitoba composers by giving their music the platform it deserves.
CMI’s inaugural season kicks off with two concerts: Friday, May 23 at 7:30 p.m. and Sunday, May 25 at 2 p.m., both at Fort Garry Mennonite Fellowship Church. Each concert features works by four Manitoba composers, offering a compelling glimpse into the province’s vibrant and growing community of creative musical voices.
A call for submissions—and an unexpected response
Back in January, Reimer-Epp and Sawchyn put out a call for scores from local composers.
“That was a very exciting process,” said Sawchyn. “We ended up getting eight in total, and it’s actually more than we bargained for—we were planning to program six. But after receiving more than intended and going through them, we decided we really wanted to feature everyone. We thought it would be a lot more wonderful for the future of CMI if we could start off with an extra-special concert with eight composers.”
CMI’s launch was made possible in part by the Winnipeg-based new music organization GroundSwell.
“They’ve helped us enormously,” said Sawchyn. “By providing some crucial funding for the project and also some very crucial mentorship. We’ve had sessions where we’ve been able to look at our budget and get some expert advice on managing a very large-scale project.”
The Sunday, May 25 concert will showcase four emerging Manitoba composers and their compelling new works. Theresa Thordarson presents Hypoballad for solo piano. Marcus Friesen offers Ritual Mourning for string quartet Tamir Moore-Freedman’s Portrait for string quartet will be performed and Dylan Fitzhenry’s Portals for string quartet. Together, these works promise a concert rich in emotion, imagination, and innovation.
For composers, timing and opportunity align
For composer Dylan Fitzhenry, the timing of the call for scores couldn’t have been better.
“I first heard about it when it was first announced on Instagram,” he said. “A friend of mine sent it to me and said, ‘You have to sign up for this.’ And coincidentally, I had literally just finished writing a string quartet. It hadn’t been performed—it was just for a school reading session. The stars aligned at the perfect time.”
Composer Theresa Thordarson also heard about the opportunity from a friend.
“I haven’t had many formal studies in composition, so there haven’t been a lot of opportunities like this,” she said. “I was very curious how it was all going to work, and I figured there was no harm in submitting something.”
The other two composers on the
From school readings to the concert stage
Both composers spoke to the challenge of getting their work performed outside of academic settings.
“When I started school, it was still in lockdown from COVID,” said Fitzhenry. “You can’t really have many things performed. And coming out of that, the best way to get things performed professionally is to sign up for competitions and workshops. But you have to win to get featured on those. A project like this is super worthwhile because getting stuff performed outside of school is tricky at times.”
Thordarson, who also has experience as a singer-songwriter, noted that it can be hard to find performers—especially for classical instrumentation.
“I’ve written for bands or ensembles I’ve been part of,” she said. “But as soon as you start writing— if you don’t happen to know a string quartet—it’s really hard. I had a funny experience where I was sent competitions by friends: one was for under 30, and one was for over 40. I was just like, okay, this is the middle ground, I guess.”
Connecting audiences with the people behind the music
CMI is not just about performance—it’s also about process.
“Our submission selection was really trying to find a diverse group of composers and allowing the audience to get in touch with each composer for who they are as an individual,” said Sawchyn. “It’s a fascinating and wonderful experience getting to know the person behind the music. So many dots start to be connected.”
That concept—putting composer and composition on equal footing—is baked into CMI’s format.
“The original idea from Sophie, my co-director, was to present a concert series where there was an equal emphasis on performance and presentation,” said Sawchyn. “So our concerts will present a 50/50 ratio of exploration of the music and performance.”
Behind the pieces: poetry, portals, and personal stories
Thordarson’s piece, Hypoballad, draws inspiration from Icelandic culture and poetry.
“The name was inspired by a song by Björk called Hyperballad,” she said. “My friend commissioned me to write a piano ballad—he’s also Icelandic—and I thought maybe I could draw on our shared heritage.”
A deep dive into Wikipedia led her to the story of twin poets, Herdís and Ólína Andrésdætur, who were separated at birth and reunited years later in Reykjavík.
“I created a theme for each of them and interwove them,” she explained. “I explored some interior piano things as well as playing on the keyboard, trying to create this wavy, bleak Icelandic texture, but also with a lot of joy.”
The score even mimics an obscure Icelandic folk instrument called the langspil.
“No one’s quite sure how it was originally played—bowed or plucked—so I gave the performer a little bit of choice,” she said. “Now, the performer is me, so I know what choice I’m going to make!”
Fitzhenry’s string quartet, Portals, takes a more abstract approach, but the title hints at his love for video game music.
“I’m big into video games—that’s kind of how I got my start in composition,” he said. “Although the portals in this piece aren’t literal, there’s definitely a fantastical aspect that comes from that influence.”
For Sawchyn, who will perform in the quartet, the title is apt.
“I think it’s going to be very fun to play because we jump around musically in a way that catches your attention,” he said. “It’ll be a very fun experience to play and also to hear.”
What they’re most excited for
After nearly two years of planning, Sawchyn is eager to see it all come to life.
“We were originally going to do it last May and decided to push it to this May,” he said. “I’m just really looking forward to seeing some faces in a room.”
Thordarson is excited about the chance to share and hear new music outside a university setting.
“I was trying to think if there are other opportunities like this in the city—not at a university—to see early works and an ensemble really dedicated to creating compelling performances,” she said. “I’m most excited about hearing my fellow composers.”
For Fitzhenry, it’s the chance to talk directly with the audience.
“I don’t often get an opportunity to talk about my perspective when a work is being performed,” he said. “Getting a chance to talk about the extended techniques and modern styles I’m applying is really exciting. I want to be on a level with the audience.”
With a diverse lineup of composers, passionate performers, and a format that invites audiences to truly engage with the music, CMI’s debut concerts promise to be something special. Whether you’re a fan of new music, curious about the creative process, or just looking to hear something fresh and thought-provoking, this is one concert experience you won’t want to miss. It's not just a performance—it’s a celebration of the vibrant, boundary-pushing talent right here in Manitoba.
Concert details
The Contemporary Music Interactive’s inaugural concerts take place on Friday, May 23 at 7:30 p.m. and Sunday, May 25 at 2 p.m. at Fort Garry Mennonite Fellowship Church. For more information, visit cmiwinnipeg.ca or head to classic107.com, where you’ll find a direct link to the event page.