This is an account of the life and cultural contribution of one of Canadas most talented conductors. He was known for his limitless enthusiasm and support of Canadian music and young musicians, as well as for his insistence on playing music by Canadian composers.

The result of this work is an insider's view of the orchestra in which the history of this great cultural institution comes alive."--BOOK JACKET.

Victor Feldbrill is an account of the life and cultural contribution of one of Canada's most talented conductors. Born in 1924, he made his Toronto Symphony conducting debut at 18. He went on to become the artistic director of the Winnipeg Symphony, a conductor with the Toronto Symphony, and a guest conductor of virtually every major symphony orchestra in Canada. Feldbrill was also the first conductor-in-residence at the University of Toronto's Faculty of Music from 1968 to 1982. However, what really set Feldbrill apart was his limitless enthusiasm and support of Canadian music and young musicians, as well as his insistence on playing the music of Canadian composers despite the reluctance of some orchestral managers and the initial opposition of audiences at the time. In doing so he reached out to young people and trained many to take their places as members of Canadian orchestras from coast to coast.

One of Canada’s best-known and most-honoured biographers turns to the raw material of his own life in Writing History. A university professor, prolific scholar, public intellectual, and frank critic of the world he has known, Michael Bliss draws on extensive personal diaries to describe a life that has taken him from small-town Ontario in the 1950s to international recognition for his books in Canadian and medical history. His memoir ranges remarkably widely: it encompasses social history, family tragedy, a critical insider’s view of university life, Canadian national politics, and, above all, a rare glimpse into the craftsmanship that goes into the research and writing of history in our time. Whether writing about pigs and millionaires, the discovery of insulin, sleazy Canadian politicians, or the founders of modern medicine and brain surgery, Michael Bliss is noted for the clarity of his prose, the honesty of his opinions, and the breadth of his literary interests.

Born in Hearne, Saskatchewan, in 1932, Allan Fotheringham has had a distinguished career. Dubbed "Dr. Foth," Fotheringham graduated from the University of British Columbia and has worked for numerous news organizations, including the Vancouver Sun, Southam News, The Financial Post, Sun Media, the Globe and Mail, and most notably as a long-time columnist for Maclean's. His career has taken him to many places on almost every continent as a correspondent and allowed him to meet many renowned personalities, from Robert F. Kennedy, Ronald Reagan, and Brian Mulroney to The Beatles, Pierre Trudeau, and Nelson Mandela. For ten years he was a panellist on the popular CBC-TV show Front Page Challenge, and he's won many awards, including the National Magazine Award for Humour, a National Newspaper Award for Column Writing, and the Bruce Hutchinson Life Achievement Award. Time once described Allan Fotheringham as "Canada's most consistently controversial newspaper columnist ... a tangier critic of complacency has rarely appeared in a Canadian newspaper."

John Weinzweig (1913–2006) was the pre-eminent Canadian composer of his generation. Influenced by European modernists such as Stravinsky, Berg, and Webern, he was the first Canadian composer to employ serialism, thereby bringing a spirit of innovation to mid-twentieth-century Canadian music. A forceful advocate for modern Canadian composition, Weinzweig played a key role in the founding of the Canadian League of Composers and the Canadian Music Centre during a buoyant and expansive period for the arts in Canada. He was an influential force as a teacher of composition, first with the Royal Conservatory of Music and later with the University of Toronto’s music faculty. This first comprehensive study of Weinzweig since his death consists of new essays by composers, theorists, and musicologists. It deals with biographical aspects (the social context of early-twentieth-century Toronto, his activism, his teaching, his early scores for CBC Radio dramas), analyzes his compositional processes and his output (his approach to serialism, his instrumental practice, the presence of jazz elements, the vocal works, the divertimenti), and examines various evaluations of his music (his own – in letters, interviews, talks, and writings – plus those of critics and scholars, of listeners, and of performers). The essays are framed by the co-editors’ portrait/assessment of Weinzweig and a brief personal memoir. Much of the content draws on new research in the extensive Weinzweig Fonds at Library and Archives Canada in Ottawa. Included at the end of the book are a [http://www.wlupress.wlu.ca/General/beckwith-cherney-list-of-works-discography.pdf List of Works by John Weinzweig by Kathleen McMorrow and a Discography by David Olds] both available here as pdfs. Supplementing the volume is an audio CD of extracts (some in their first public release), ranging from a 1937 student work to a song cycle of 1994. Read the [http://www.wlupress.wlu.ca/General/beckwith-cherney-cd-notes.pdf Notes and Texts for the CD.]

Eldon Davis Rathburn (1916-2008), one of the most multi-dimensional, prolific, and endlessly fascinating composers of the twentieth century, wrote more music than any other Canadian composer of his generation. During a long and productive career that spanned seventy-five years, Rathburn served for thirty years as a staff composer with the National Film Board of Canada (1947-76), scored the first generation of IMAX films, and created a diverse catalogue of orchestral and chamber works. With the aid of extensive archival and documentary materials, They Shot, He Scored chronicles Rathburn's life and works, beginning with his formative years in Saint John, New Brunswick, and his breakthrough in Los Angeles in connection with Arnold Schoenberg and the LA Philharmonic Orchestra. The book follows his work at the NFB, his close encounters with some of the most celebrated international figures in his field, and his collaboration with the team of innovators who launched the IMAX film corporation. James Wright undertakes a close analytical reading of Rathburn's film and concert scores to outline his methods, compositional techniques, influences, and idiosyncratic approach to instrumentation, as well as his proto-postmodern proclivity for borrowing from diverse styles and genres. Authoritative and insightful, They Shot, He Scored illuminates the extraordinary career of an unsung creative force in the film and music industry.