Patrick Cardy

Welcome to the Website of Canadian composer Patrick Cardy. In these pages you will find information on the music and career of Patrick Cardy, instructions on how to order scores and recordings, and links to Websites of composers, performers, publishers, broadcasters, critics and other music organizations.

Professor Patrick Cardy passed away on March 24, 2005. As stated in the Ottawa Citizen shortly after Patrick’s death, Canadian music lost a ‘great healthy force’. This is an even greater loss for Carleton University where Patrick served as a model faculty member, contributing substantially to the administration and pedagogy in the Music program and beyond. 2005 Ottawa Chamber Music Festival Made in Canada VII - Patrick Cardy Memorial Concert featuring the music of Patrick Cardy Dominion Chalmers United Church - 8:00 p.m., Tuesday, August 2, 2005 Julie Nesrallah – mezzo-soprano, Quatuor Arthur-LeBlanc, Paule Préfontaine – violin, Sally Benson – viola, Margaret Munro Tobolowska – cello, John Geggie – double bass, Thomas Annand – organ, and others. Ottawa Chamber Music Festival Website

Text © Patrick Cardy 2003, adapted from James, John and Robert Wedderburn: Ane Compendium Buik of Godly and Spirituall Sangis (1567); translation of Martin Luther: Vom Himmel Hoch, from Geistliche Lieder (1535)

Kalenda maya
Ni fuelhs de faya
Ni chanz d'auzelh
Ni flors de glaya,
Non es que'm playa,
Pros domna guaya,
Tro qu'un ysnelh
Messatgier aya
Del vostre belh
Cors, que'm retraya
Plazer novelh
Qu'Amors m'atraya,
E jaya E'mtraya
Vas vos, Domna veraya;
E chaya De playa
'Lgelos
Ans que'm n'estraya.
[The first of May,
neither leaf of beech
nor song of bird
nor flower of sword lily
pleases me,
lady noble and gay,
until I receive
a speedy messenger
from your fair self
who will tell me
the new delight
which love brings me,
and joy; and which draws me
toward you, true lady.
And may he die of his wounds,
the jealous one,
before I take my leave.]

I hear the voices...
Come away, come away, come away, my sweet child,
night is done, morning dawns,
and the weeping world is gone.
Have I passed this way before?
The moon is silent, the air is still.
My eyes appeal the sky for welcome constellations;
the wand'ring stars, elusive, spin away...
Will I come this way again?
The path is narrow, the trees unfold
in leafy shadows, stroking steps with twilight breezes;
the mossy boles a solemn colonnade...
I hear the voices...
Come away, come away, come away, my sweet child,
night is done, morning dawns,
and the weeping world is gone.
Must I find my way alone?
The waters whisper, the stones recall
the sorrow of the planet, the sadness of our lives;
the mountains rise, impassive, starlight fades...
But in the mist-gloom, silent, pale and far,
a tender aura glows, slowly warms the soul,
to fill the heavens with hope for a newborn day...
I hear the voices...
Come away, come away, come away...
Text © Patrick Cardy 1998

The hero has come home!
What a squealing and a squalling, what a wealing and a wauling, what a whooping and a howling, what a bellow, what a bray, what a whining and a whinny, what a shindy, what melée!
What a ruckus and a fuss, what a racket and a muss, what a bustle and a tussle, what a fracas, what a fray, what a scramble and a scuffle, what a scrimmage, what a day!
As Toad returned triumphant - ascendant, resplendent - as Toad returned exultant to claim his ancestral sway.
Dame Fortune, like the fickle moon, had held Toad in her thrall,
but now her wheel had turned again, and countered his sad fall,
to let him take his rightful place as Master of Toad Hall.
Well might the fearful weasels spring madly for the door!
Well might the tables and china fall crashing to the floor!
Well might the hapless ferrets cower before their doom,
that terrifying moment when the heroes strode into the room!
Great Badger, whiskers bristling, cudgel whistling through the air;
stout Mole, black and grim, dark face an awful stare;
brave Rat, with weapons fearful, spreading terror and dismay;
and Toad, the conqu'ring hero, returned to save the day!
The rout, it was soon over, the hall was quickly cleared,
and from the wood the weasels' cries fell faintly on their ears.
But, as his friends rejoiced, Toad quietly slipped away,
retired to his bedroom, where sad in thought he lay.
His brow a-rest upon his paw, he pondered long and deep.
Then slowly his visage cleared, smiles to his face did creep.
He giggled shy, and gathered chairs, and ranged them in a ring,
then bowed twice to an unseen crowd, raised his voice and began to sing:
The Toad came home! The Toad came home!
There was panic in the parlour and howling in the hall,
there was crying in the cow-shed and shrieking in the stall,
when the Toad came home! When the Toad came home!
There was smashing in of window and crashing in of door,
there was chivvying of weasels that fainted on the floor,
when the Toad came home! When the Toad came home!
Bang! go the drums! Bang! go the drums! as the hero comes!
Bang! go the drums! Bang! go the drums! as the hero comes!
The trumpeters are tooting and the soldiers are saluting,
and the cannon they are shooting and the klaxons are a-hooting.
The motor-car goes poop-poop-poop at the head of the parade,
steered by Toad, ingenious Toad, in splendour all arrayed.
Shout hooray! Shout hooray!
And let each one of the crowd try and shout it very loud,
in honour of an animal of whom you're justly proud,
for it's Toad's great day!
He sang this loud and, when he'd done, he sang it all again,
then heaved a sigh, a long slow sigh, and turned to join his friends.
But though they clamoured for a speech, a song, a worthy ode,
he modestly declined - he was indeed an altered Toad!
Text © Patrick Cardy 1997

Te Deum laudamus, 
Te Dominum adoramus.    
Te aeternum Patrem,     
omnis terra benedicitur.        
Tibi omnes angeli,      
Tibi caeli et universae potestates,     
Tibi Cherubim et Seraphim       
incessabili voce proclamant:    
"Sanctus, Sanctus, Sanctus,     
Dominus Deus Sabaoth.   
Pleni sunt caeli et terra       
majestatis gloria tua.  
Hosanna in excelsis Deo."       

[We praise You as God,
we worship You as Lord.
The whole earth is blessed by You,
everlasting Father.
To You all the angels,
to You the heavens and all the heavenly Powers,
to You the Cherubim and the Seraphim
unceasingly cry aloud:
"Holy, Holy, Holy,
Lord God of hosts.
Heaven and earth are filled
with the majesty of Your glory.
Hosanna in the highest God."]

Te gloriosus    
apostolorum chorus,     
Te prophetarum  
laudabilis numerus,     
Te martyrum candidatus  
laudat exercitus.       
Te omnes electi 
voce confitentur unanimes proclamant:   
Tibi gloria, Tibi laus, Tibi honor, Deum.       
Tibi gratiarum actio,   
Patrem immensae majestatis,     
unigenitum et verum Filium,     
quoque Sanctum Spiritum,        
O beata et una Trinitas,        
summa Deitas    
et sancta Unitas,        
in saecula sempiterna.  
Alleluia.       

[The glorious choir
of apostles praises You,
the praiseworthy band
of prophets praises You,
the white-clad army
of martyrs praises You.
All the chosen ones acknowledge You
with one voice, proclaiming:
Praise, gloria and honour to You, O God.
To You we give thanks,
Father of infinite majesty,
Your true and only Son,
and also the Holy Spirit,
O blessed and only Trinity,
highest Godhead
and holy Unity,
forever and ever.
Alleluia.]
Translation © Patrick Cardy 1995

How often haunting the highest hilltop,
I scour the ocean, your boat to see.
Will't come tonight, love? Will't come tomorrow?
Will't ever come, love, to comfort me?

They call thee fickle, they call thee false one,
And seek to change thee, but all in vain,
For thou art my dream through ev'ry dark night,
And ev'ry morning I watch the bay.

Fhir a bhata na horo eile,
Fhir a bhata na horo eile,
Fhir a bhata na horo eile,
Oh, fare thee well, love, where e'er ye be.

There's not a hamlet, too well I know it,
Where you go wand'ring or sit awhile,
And all its old folk you win with talking,
And claim its maidens with song and smile.

Dost thou remember the promises made me,
The tartan plaidie, the silken gown,
The ring of gold with a heaven portrait,
That golden ring I shall never own.

Fhir a bhata...

All my friends, they unceasing tell me
To forget you, but that I tried.
Their advice is just as idle
As to hold back a flowing tide.

The love I gave you will ne'er falter,
Nor the seasons my vision stain.
Thy fond love I'll cherish forever,
There's nought but death my sad heart will change.

Fhir a bhata...

Henceforth shall I, till my love's returning,
Mourn as a swan in her dying keen.
Come, my boatman, across the ocean,
O come ye home, love, come home to me.

Fhir a bhata...

I. Ex tenebris... Behold a pale horse: and his name that sat on him was Death (Revelation 6:8)
II. ...per tumultum... And we are here as on a darkling plain Swept with confusing alarms of struggle and flight, Where ignorant armies clash by night. (Matthew Arnold: Dover Beach)
III. ...ad requiem And on his grave, with shining eyes, the (gentle) stars look down. (Matthew Arnold: Obermann Once More)

Text © Patrick Cardy 1992

Quant je sui mis en retour                              
De veoir ma dame,               
Il n'est peine ne dolour                        
Que j'aie, par m'ame.
                
[When I return from seeing my lady,                     
upon my soul,           
I haven't a care in the world.          

Sa biauté, sa grant doucour
D'amoureuse flame,
Par souvenir, nuit et jour
M'esprent et enflame.

[The memory of her gentle beauty
makes me glow, night and day,
with the flame of love.]

Et quant sa haute valour
Mon fin cuer entame,
Servir la weil sans folour
Penser ne diffame.

[The very thought of her sweet perfection
so melts my tender heart that my one wish
is to serve her constantly and selflessly.]

Dieus! C'est drois que je l'aim, sans blame, de loial amour.
        
[Dear God, how I love her, with a pure and faithful love.]

I. Avec La nuit montante...

Avec la nuit montante et le lever des brumes,   
L'âme en deuil de la verte mer qui resplendit   
Se dresse fabuleuse en blancs crêpes d'écumes,  
Avec la nuit montante et le lever des brumes.   

[As darkness falls and the mists melt away,
the mourning soul of the glittering green sea
raises itself in fabulous white veils of foam,
as darkness falls and the mists melt away.]

Les mouettes trempent dans l'eau nocturne leurs plumes, 
Et voici triompher sur le soir agrandi, 
Avec la nuit montante et le lever des brumes,   
L'âme en deuil de la verte mer qui resplendit.  

[The gulls dip their feathers in the night water,
and behold, the mourning soul of the glittering
green sea rejoices in the vast night,
as darkness falls and the mists melt away.]

II. Le crépuscule de l'eau

Les fleurs s'en sont allées au fil de l'eau le long des rives   

[The flowers have drifted  away in the low of the water along the shores]

Les fleurs? L'eau merveilleuse où le soir qui meurt se mordore  
Les pétales de crépuscule tournent et chavirent 
Au fil du fleuve qu'un frisson bleu de brise déflore    
Et si loin par la plaine et la plaine se suivirent      
Qu'aux derniers champs du monde où naît rouge l'aurore. 

[The flowers? The marvellous water in which the dying evening turns golden;
the dying petals twirl and topple
in the current of the river, deflowered by a chill blue breeze,
and far, far across the plains, run on to
the edge of the world, where is born the red dawn.]

Les fleurs s'en sont allées au fil de l'eau le long des rives   

[The flowers have drifted  away in the flow of the water  along the shores]
                
Les fleurs? celles de chair et de lin frêle encorollées 
Que berce le roulis des lentes barques évasives 
Et tristement, avec des nonchalances désolées,  
Peuplent d'un vol le miroir des rivières massives       
Des rivières entre les pins, longues allées.    

[The flowers? Those of fresh and fragile flax, encorollate,
are soothed by the rolling of slow, elusive barques,
and sadly, with sorrowful heedlessness, alight and multiply
on the mirrored surfaces of slow-moving rivers,
flowing, into the distance, between the pines.]

Les fleurs sur l'eau qui gyre au fil des fleuves en allées...   

[The flowers on the whirling water in the flow of tree-lined  streams...]

O le silence noir des eaux! l'effroi sous les ramures   
Frisson glacé de rivière frileuse dévêtue...    
Et dans la haute nuit du parc où sont morts le murmures 
Dans la brume où s'érige une pâleur de statue,  
La tristesse et la nudité des eaux nocturnes.   

[O the black silence of the waters! The terror under the branches;
glacial chill of the frozen river stripped...
and in the deep night of the park where whispers have died
in the mist in which rises the pallor of a statue,
the sadness and the nudity of the nocturnal waters.]

Les fleurs sur l'eau qui gyre au fil des fleuves en allées...   

[The flowers on the whirling water in the flow of tree-lined  streams...]

III. La Nuit

Elle se baigne avec sa grande urne de grès      
À l'abri des rocs noirs dans un lac d'Arcadie,  
Eau glaciale où meurt le suprême incendie...    
Elle se baigne avec l'image des forêts. 

[She washes herself with her large stone urn
in the shelter of black rocks in an Arcadian lake,
frigid water which extinguishes the supreme fire...
she washes herself with the image of forests.]

Son long ventre émergé mollement du marais      
Respire en secouant ses colliers d'eau verdie.  
Ell regard fuir une moire agrandie,     
Touble du ciel inverse et flot sur les cyprès.  

[Her long body, rising softly from the maters,
breathes, shaking off her necklace of greenish water.
She watches glide away the dim, watery reflection of the sky,
inverted, floating on the cypresses.]

Elle a froid. Le serein perle sur sa peau brune.        
Ses yeux d'acier furtif se remplissent de lune. 
Elle attend que sur l'eau meure le dernier bruit...     

[She is cold. The night-dew beads on her brown skin.
Her steely, furtive eyes are filled with the moon.
She waits for the last sound to die on the water...]

Puis détournant les yeux vers sa douteuse épaule,       
Elle, de ses doigts longs comme des fleurs de saule,    
Tord ses cheveux obscurs d'où ruisselle la nuit.        

[Then, turning her eyes towards her uncertain shoulder,
she, with her long, willowy fingers,
twists her dark hair, from which streams the night.]

IV. Pervigilium Mortis

Ouvre sur moi tes yeux si tristes et si tendres,        
Miroirs de mon étoile, asiles éclairés, 
Tes yeux plus solennels de se voir adorés,      
Temples où le silence est le secret d'entendre. 

[Cast your eyes, so sad and tender, on me,
mirrors of my star, illuminated sanctuaries,
your eyes, more solemn from seeing themselves adored,
temples where silence is the secret of understanding.]

Translation © Patrick Cardy 1986

About the fields they piped full right,
so merrily shepherds began to blow;
adown from heaven they saw a light:
Tyrlee, tyrlow, tyrlee, tyrlow.

Of angels there came a company,
with merry songs and melody;
the shepherds anon gan them aspy:
Tyrlee, tyrlow, tyrlee, tyrlow,
tyrlee, tyrlow, tyrlee, tyrlow.

The shepherds hied them to Bethlehem,
to see the blessed sun his beam,
and there they found that glorious stream:
Tyrlee, tyrlow, tyrlee, tyrlow.

Now pray we to that meek child,
and to his mother that is so mild,
the which was never defiled:
Tyrlee, tyrlow, tyrlee, tyrlow,
tyrlee, tyrlow, tyrlee, tyrlow.

Gloria in excelsis,
the angels sang, good will among
all goodly men that faith would fong:
Tyrlee, tyrlow, tyrlee, tyrlow.

That we may come unto his bliss,
where joy shall never miss,
that we may sing in paradise:
Tyrlee, tyrlow, tyrlee, tyrlow.

I pray you all that be here,
to sing and make good cheer,
in the worship of God this year:
Tyrlee, tyrlow, tyrlee, tyrlow,
Tyrlee, tyrlow, tyrlee, tyrlow,
tyrlee, tyrlow, tyrlee, tyrlow.

All goodly men, now raise a song:
Tyrlee, tyrlow, tyrlee, tyrlow.

Text © Patrick Cardy, adapted from the Commonplace Book of Richard Hill (c. 1500)

I saw a fair maiden sit and sing,
she lulled a little child, a sweet lording:

That Lord is He that makes all things,
the Lord of Lords and King of Kings.

Lullay, mine liking, my dear, my son,
mine sweeting lullay.
Lullay, my dear heart, lullay my son,
lullay, my own sweet darling.

There was mickle melody at that child’s birth,
and all in heaven they make mickle mirth.

The angels sang that night to the child,
“Bless’d be He that is meek and mild.”

Lullay, mine liking...

Now pray to the child and mother dear,
and grant them blessing who make good cheer.

Lullay, mine liking...

Text © Patrick Cardy, adapted from the Sloane Manuscript 2593 (early 15th century)

I. Denn das Schöne ist nichts als des Schrecklichen Anfang,
den wir noch grade ertragen, und wir bewundern es so,
weil es gelassen verschmäht, uns zu zerstören. Ein jeder Engel ist schrecklich.

[Beauty is only the first touch of terror
we can still bear and it awes us so much
because it so coolly disdains to destroy us.
Every single Angel is terrible.]

II. Wer hat uns also umgebracht, daß wir, was wir auch tun, in jener Haltung sind von einem,
welcher fortgeht? Wie er auf dem letzten Hügel, der ihm ganz sein Tal noch einmal zeigt, sich
wendet, anhält, weilt -, so leben wir und nehmen immer Abschied.

[Who has turned us around this way so that we're always, whatever we do, in the posture of
someone who is leaving? Like a man on the final hill that shows him his whole valley one last
time, who turns and stands there lingering - that's how we live, always saying goodbye.]

III. Die Versunkenen suchen immer noch Erde.

[The buried are always seeking the earth again.]

IV. Daß ich dereinst, an dem Ausgang der grimmigen Einsicht,
Jubel und Ruhm aufsinge zustimmenden Engeln.

[That someday at the close of this fierce vision 
I might sing praise and jubilation to assenting angels.]
Translation © David Young

The soft night falls,
moonlight calls,
the starlight sings of far tomorrow.

And through the mist,
night's tender kiss,
the earth clings to ancient sorrow.

My babies lie in peace.

The candle glows,
night's breath slows,
the shadows drift in waves and wander.

Grey embers die,
"Hush", with a sigh,
they warm the silent dark no longer.

My babies lie in peace. So lullaby.

And now to bed,
my sleepyheads,
you'll hear the gentle breezes speak.

So close your eyes,
let night disguise
the private dreams of children's sleep. Lullaby.

Text © Patrick Cardy 1979

I. The Invocation: Music of the Morning

Hija del alba de oro, espera-
bañate en las aguas cristalinas del Tiempo;
oye el Canto Universal-

[Girl of the golden dawn, wait-
wash in the crystal waters of the ages;
listen to the universal song-]

II. Dance of the Sad Girl

La hija triste baila,
lentamente, siempre arremolinándose,
en silenciosa seducción:
sus ojos tenebros solicitan-
el sosiego del amor.

[The sad girl dances,
slowly, ever swirling, 
in silent seduction:
dark eyes seek-
the stillness of love.]

III. Song of the Night

El suspiro de sus cabellos-
tinieblas, en las sombra del viento;
Las aguas de sus ojos-
frescos, lagunas en la luz de la luna hueca;
La música de su boca-
apasionada, tan apasionada, en la noche eterna.

[The breeze of her hair-
dark, in the shadow of the wind;
The waters of her eyes-
cool, ponds in the hollow moonlight;
The music of her mouth-
warm, so warm, in the eternal night.]

IV. Music of the Spheres

La música de antiguas esferas
resuena en el eco de mi ser-
cantaré siempre.

[Music of ancient spheres
resounds in the distance of my mind-
I shall sing forever.]
Text © Patrick Cardy 1976
Translation © Nicole Boudreau 1976

 
I. From the Crystal Palace of the Moon
Laudato si', mi Signore, per sora luna e le stelle;
In cielo l'hai formate clarite et pretiosa et belle.
[Praised be You, Lord, for sister moon and the stars;
In heaven You have made them bright and precious and beautiful.]
II. In the Temple of the Fire God
Laudato si', mi Signore, per frate focu
Per lo quale ennallumini la nocte;
Et ello è bello et jocundo et robostoso et forte.
[Praised be You, Lord, for brother fire
Through whom You illumine the night;
And he is beautiful and gay and vigorous and strong.]
IIa). The Spectral Waters of the Night
Laudato si', mi Signore, per sor'acqua,
La quale è multo utile et humile et pretiosa et casta.
[Praised be You, Lord, for sister water,
Who is most useful and humble and precious and chaste.]
III. Hymn to the Sun
Laudato si', mi Signore, cun tutte le tue creature
Spetialmente messor lo frate sole
Lo quale jorna et allumini noi per loi.
Et ellu e bellu e radiante cun grande splendore:
De te, Altissimo, porta significatione.
[Praised be You, Lord, with all Your creatures,
Especially our brother, Master Sun,
Who makes day and through whom You give us light.
And he is beautiful and radiant with great splendour:
He brings meaning of You, O most High.]
IV. The Lost Winds of Antiquity
Laudato si', mi Signore, per frate vento
E per aere et nubilo et sereno et omne tempo,
Per lo quale a le tue creature dai sustentamento.
[Praised be You, Lord, for brother wind
And for the air, and for cloudy and clear and for all weather,
Through which You give sustenance to Your creatures.]

He has received over 50 commissions from numerous performers and institutions, including Triofus (Tzigane (2005), for clarinet, bassoon (or bass clarinet) and piano (or violin, violoncello and piano)), pianist Elaine Keillor (new work for piano, in progress), Rod Jean-Louis, Lisa Hogan and the Ottawa Chamber Music Society (Quips and Cranks (2004), five bagatelles for piano), the Divertimento Orchestra (Kissing the Joy as it Flies (2003), for orchestra), Elizabeth Duncan and the Ottawa Chamber Music Society (Balubalow and Glory Hallelujah (2003), for voice and piano), the Lisgar Collegiate String Orchestra (Hope (2002), for string orchestra), the Ottawa Chamber Music Festival (Zodiac Dances, Book Three, for string quartet, and a new work for narrator and chamber ensemble, in progress), Saxart (Peregrine (2001) and Juggernaut (2001), for saxophone quartet), the National Arts Centre Orchestra and Platypus Theatre (Rhythm in Your Rubbish (2001), for orchestra), the Edmonton Symphony (Trobadores (2000), for orchestra), the St. Lawrence String Quartet (Zodiac Dances (2000), for string quartet and (optional) visuals and dancer(s)), the Hannaford Street Silver Band (Kalenda Maya (1999), for brass band), clarinetist Paul Bendzsa and the Newfoundland Symphony (Bonavista (1997), for clarinet and orchestra), baritone Brian McMillan, Thirteen Strings and mezzo-soprano Julie Nesrallah (...and in the night the gentle earth is falling into morning... (1998), for voice and string orchestra (or piano)), the Ottawa Chamber Music Festival (Chasing Beethoven (1998), for string quartet), Mary Bullock (The Return of the Hero (1997), for voice and piano), Stephen and Catherine Rollins (Sans Souci (1996), for flute and guitar), cellist Julian Armour (Liesel, Suse, Ilze and Gerda (1996), for violoncello (or violin or viola) and piano), l'Ensemble du Jeu Présent (La Folia (1996), for chamber orchestra), the CBC for the Manitoba Chamber Orchestra (Dreams of the Sídhe (1995), for string orchestra), the CBC for Les Sonneurs and the Toronto Consort (Te Deum (1995), for voices and brass), pianist Angela Hewitt (Silver and Shadow (1994), for piano), Ottawa's Thirteen Strings (Fhir a Bhata: The Boatman (1994), for string orchestra), violist Maria Lambros Kannen (Elegy (1994), for two violas), flutist Robert Cram and the Ottawa Symphony (Et in Arcadia ego (1994), for flute and orchestra), the Vancouver Chamber Music Festival (Danses folles et amoureuses (1993), for flute, oboe (or clarinet), violin, violoncello and harpsichord), the Ottawa Quartet ("Dulce et decorum est..." (1993), for string quartet), the Eckhardt-Gramatté National Music Competition (Autumn (1992), for voice and piano), the Composers' Orchestra and marimbist Beverley Johnston (Chaconne (1992), for marimba and chamber orchestra), clarinetist Gene Ramsbottom (Serenade (1992), for clarinet, bassoon and string orchestra), the CBC Vancouver Orchestra (Avalon (1991), for orchestra), the Pierrot Ensemble (The Little Mermaid (1990), for narrator and chamber ensemble), the Manfred Trio (Tombeau (1989), for clarinet, violoncello and piano), clarinetist Robert Riseling (Tango! (1989), for clarinet, violin and piano), clarinetist James Campbell and the Festival of the Sound (Qilakitsoq: The Sky Hangs Low (1988), for clarinet, bassoon, horn and piano), violin/viola duo Jerry and Janos Csaba (Mimesis (1987), for violin and viola), baritone Paul Massel (Les Eaux de Tristesse (1986), for baritone and piano), duo pianists Elaine Keillor and Christina Petrowska (Outremer: The Land Beyond the Sea (1985), for piano four-hand and tuned crystal glasses), the CBC for clarinetist James Campbell and Ottawa's Thirteen Strings (Virelai (1985), for clarinet and string orchestra), organist David MacDonald and Halifax's inNOVAtions in Music (Éclat (1984), for organ), Toronto's ARRAYMusic (Jig (1984), for clarinet, viola, violoncello, contrabass, piano and percussion), flutist/saxophonist Jean-Guy Brault (Mirages (1984), for alto saxophone (or flute) and piano), flutist Carmelia MacWilliam and organist Richard Dacey ("...time presses and night begins to fall..." (1982), for flute and organ), the Canadian Centennial Choir (Jeu d'Enfant (1981), for (optional) solo contrabass and choir), the Concept String Quartet (The Snow Queen (1980), for narrator and string quartet), pianist Dale Maves (Angels (1980), for flute, oboe, violoncello and piano), the Alliance for Canadian New Music Projects (Sparkle (1980), for flute and piano), and the Canadian Federation of University Women (Golden Days, Silver Nights (1977), for soprano and chamber ensemble). These and many of his other works, including The Masks of Astarte (1981), for piano, and Re-Atum (1976), for organ, have been performed and broadcast frequently in Canada, in the United States, in Europe and in the Middle East.

His music is characterized by colourful, evocative sonorities, a strong sense of dramatic gesture, an elegant lyricism and an accessible directness of expression, traits that have captivated both listeners and performers. His numerous awards include three CAPAC Fellowships (1975, 1978, 1979), the 1976 Canadian Federation of University Women Creative Arts Award, three finalist selections in the CBC Radio Competition for Young Composers (1978 - Sunspots (1975, rev. 1980), for solo electric violoncello; 1980 - Golden Days, Silver Nights; 1982 - Angels), a selection (for Apokalypsis (1978), for orchestra and chamber choir) in the 1980 Gaudeamus International Music Week, a 1992 JUNO Award nomination (for Virelai), and a special shortlist commendation in the 2003 Masterprize (for Trobadores). Recordings of two of his works are available on CBC Records: Virelai, by clarinetist John Rapson and the CBC Vancouver Orchestra, conducted by Mario Bernardi (CBC SMCD5094), and Éclat, by organist David MacDonald (MVCD1104), the latter of which was named Best Classical Recording at the 1999 East Coast Music Awards. A recording of six of his chamber works - Tango!, Tombeau, Sans Souci, Danses folles et amoureuses, Liesel, Suse, Ilze and Gerda and Jig - was released on the CanSona Arts Media label (CAM 2000-01) in August, 2000. And a new recording of Kalenda Maya, for brass band, performed by the Hannaford Street Silver Band, Gary Kulesha, conductor, will be released in the spring of 2005.

In addition to his work as a composer, Dr. Cardy was active as an adjudicator, broadcaster and lecturer on music, the past president of Espace Musique, Ottawa's new music concert society, the past Treasurer of the Canadian University Music Society, and the past President of the Canadian League of Composers. In 1996, he served as new music advisor to the National Arts Centre Orchestra for its "A Tonal Departure" new music festival.

Il a fait l'objet de plus que 50 commandes par Triofus (Tzigane (2005), pour clarinette, basson (ou clarinette basse) et piano (ou violon, violoncelle et piano)), pianiste Elaine Keillor (nouvelle oeuvre pour piano en cours de composition), Rod Jean-Louis, Lisa Hogan et la Société de musique de chambre d'Ottawa (Quips and Cranks (2004), cinq bagatelles pour piano), l'Orchestre Divertimento (Kissing the Joy as it Flies (2003), pour orchestre), Elizabeth Duncan et la Société de musique de chambre d'Ottawa (Balubalow et Glory Hallelujah (2003), pour voix et piano), l'Orchestre à cordes de Lisgar Collegiate (Hope (2002), pour orchestre à cordes), le Festival international de musique de chambre d'Ottawa (Zodiac Dances, Book Three, pour quatuor à cordes, et une nouvelle oeuvre pour narrateur et ensemble de chambre en cours de composition), Saxart (Peregrine (2001) et Juggernaut (2001), pour quatuor à saxophones), l'Orchestre du Centre national des Arts et Théâtre Platypus (Rhythm in Your Rubbish (2001), pour orchestre), le Edmonton Symphony Orchestra (Trobadores (2000), pour orchestre), le St. Lawrence String Quartet (Zodiac Dances (2000), pour quatuor à cordes, et (facultatives) images et danseur(s)), le Hannaford Street Silver Band (Kalenda Maya (1999), pour harmonie de cuivres), le baryton Brian McMillan, Thirteen Strings et mezzo-soprano Julie Nesrallah (...and in the night the gentle earth is falling into morning... (1998), pour voix et orchestre à cordes (ou piano)), le Festival de musique de chambre d'Ottawa (Chasing Beethoven (1998), pour quatuor à cordes), le clarinetistte Paul Bendzsa et le Newfoundland Symphony (Bonavista (1997), pour clarinette et orchestre), Mary Bullock (The Return of the Hero (1997), pour voix et piano), Stephen et Catherine Rollins (Sans Souci (1996), pour flûte et guitare), celliste Julian Armour (Liesel, Suse, Ilze and Gerda (1996), pour violoncelle (ou violon ou alto) et piano), l'Ensemble du Jeu Présent (La Folia (1996), pour orchestre à chambre), la SRC, pour le Manitoba Chamber Orchestra (Dreams of the Sídhe (1995), pour orchestre à cordes), la SRC, pour le Toronto Consort et Les Sonneurs (Te Deum (1995), pour choeur et cuivres), pianiste Angela Hewitt (Silver and Shadow (1994), pour piano), les Thirteen Strings d'Ottawa (Fhir a Bhata: The Boatman (1994), pour orchestre à cordes), altiste Maria Lambros Kannen (Elegy (1994), pour deux altos), le flûtiste Robert Cram et l'Orchestre symphonique d'Ottawa (Et in Arcadia ego (1994), pour flûte et orchestre), le Vancouver Chamber Music Festival (Danses folles et amoureuses (1993), pour flûte, hautbois (ou clarinette), violon, violoncelle et clavecin), le Quatuor Ottawa («Dulce et decorum est...» (1993), pour quatuor à cordes), le Concours national Eckhardt-Gramatté (Autumn (1992), pour voix et piano), le Composers' Orchestra et la marimbiste Beverley Johnston (Chaconne (1992), pour marimba et orchestre de chambre), le clarinettiste Gene Ramsbottom (Serenade (1992), pour clarinette, basson et orchestre à cordes), la SRC, pour l'Orchestre Radio-Canada de Vancouver (Avalon (1991), pour orchestre), l'Ensemble Pierrot (The Little Mermaid (1990), pour narrateur et ensemble de chambre), le Trio Manfred (Tombeau (1989), pour clarinette, violoncelle et piano), le clarinettiste Robert Riseling (Tango! (1989), pour clarinette, violon et piano), le clarinettiste James Campbell et le Festival of the Sound (Qilakitsoq: The Sky Hangs Low (1988), pour clarinette, basson, cor et piano), le duo violon/alto Jerry et Janos Csaba (Mimesis (1987), pour violin et alto), le baryton Paul Massel (Les Eaux de Tristesse (1986), pour baryton et piano), les pianistes Elaine Keillor et Christina Petrowska (Outremer: The Land Beyond the Sea (1985), pour piano à quatre-mains et verres de cristal accordés), la SRC, pour clarinettiste James Campbell et les Thirteen Strings d'Ottawa (Virelai (1985), pour clarinette et orchestre à cordes), l'organiste David MacDonald et inNOVAtions in Music de Halifax (Éclat (1984), pour orgue), ARRAYMusic de Toronto (Jig (1984), pour clarinette, alto, violoncelle, contrebasse, piano et percussion), le flûtiste et saxophoniste Jean-Guy Brault (Mirages (1984), pour saxophone mi bémol (ou flûte) et piano), la flûtiste Carmelia MacWilliam et l'organiste Richard Dacey («...time presses and night begins to fall...» (1982), pour flûte et orgue), le Choeur du centenaire canadien (Jeu d'enfant (1981), pour choeur et contrebasse (facultatif)), le quatuor à cordes Concept (The Snow Queen (1980), pour narrateur et quatuor à cordes), le pianiste Dale Maves (Angels (1980), pour flûte, hautbois, violoncelle et piano), et l'Alliance for Canadian New Music Projects (Sparkle (1980), pour flûte et piano). Ces pièces, et d'autres, y compris The Masks of Astarte (1981), pour piano, et Re-Atum (1976), pour orgue, ont été jouées et diffusées au Canada, aux États-Unis, en Europe, en Afrique du Sud et au Moyen-Orient.

Sa musique, qui expose toujours des sonorités colorées en des formes claires et élégamment modelées, fut influencée à l'origine par le compositeur américain George Crumb, mais traduit depuis quelques années un intérêt pour des techniques de citation et divers aspects de la «néo-tonalité». Cardy a reçu de nombreuses distinctions et récompenses, dont le prix de création artistique de la Fédération canadienne des femmes diplômées des universités (pour laquelle il a composé Golden Days, Silver Nights (1977), pour soprano et ensemble de chambre), le prix William St. Clair Low de la CAPAC (en 1975), deux fois le prix Ernest MacMillan de la CAPAC (en 1978 pour Canticle of the Island pour orchestre et soprano et en 1979 pour Apokalypsis pour orchestre et choeur de chambre), trois mentions en finale au Concours des jeunes compositeurs de la radio de Radio-Canada (pour Sunspots, pour violoncelle électrique solo, en 1978, Golden Days, Silver Nights en 1980, et Angels en 1982), une oeuvre sélectionnée (Apokalypsis) pour la Semaine Gaudeamus de musique internationale en 1980 aux Pays-Bas, une nomination pour un prix JUNO (1992, pour Virelai), et une recommandation dans le concours Masterprize (2003, pour Trobadores). Deux de ses oeuvres sont enregistrés sur DC sur líetiquette Les Disques SRC: Virelai, exécutée par le clarinettiste John Rapson et le CBC Vancouver Orchestre, dirigé par Mario Bernardi (SMCD5094), et Éclat, exécutée par l'organiste David MacDonald (MVCD1104); cette dernière a gagnée le prix «Best Classical Recording» aux 1999 East Coast Music Awards. Une enregistrement de six de ses pièces - Tango!, Tombeau, Sans Souci, Danses folles et amoureuses, Liesel, Suse, Ilze and Gerda et Jig - était lancé sur l'étiquette CanSona Arts Media en août 2000. Et une nouvelle enregistrement de Kalenda Maya, pour harmonie de cuivres, exécutée par le Hannaford Street Silver Band, dirigé par Gary Kulesha, sera lancé le printemps 2005.

Outre ses activités de compositeur, Cardy a été chargé de cours, examinateur, organisateur de concerts, administrateur et diffuseur de musique. Il a été président d'Espace Musique, la société de musique nouvelle d'Ottawa, trésorier de la Société de musique des universités canadiennes, et président de la Ligue canadienne de compositeurs. En 1996, il était le conseiller en musique nouvelle pour le festival «Des tons étonnants» de l'Orchestre du Centre national des Arts.

27/06/04: Broadcast of Kalenda Maya, for brass band, by the Hannaford Street Silver Band, on CBC's Music Around Us

12/07/04: Performance of Tango!, for clarinet, violin and piano, by the Riverdale Ensemble, Church of the Holy Trinity, Toronto, Musical Mondays

30/07/04: Performance of The Snow Queen, for narrator and string quartet, by Michael Therriault and the St. Lawrence String Quartet, Stratford Summer Music

02/08/04: Performance of Elegy, for two violas, by Steven Dann and Guylaine Lemaire, Dominion Chalmers United Church, Ottawa International Chamber Music Festival

20/11/04: Performance of Chasing Beethoven, for string quartet, by the Madawaska String Quartet, ARC Theatre, University of Toronto, Scarborough Campus, as part of the Music of All Latitudes Concert Series, Toronto

26/11/04: Performance of Zodiac Dances, for string quartet, by the Atlantic String Quartet, Don Cook Recital Hall, St. John's, Newfoundland

26-27/11/04 season: Performances of Kissing the Joy as it Flies, for orchestra, by the Divertimento Orchestra, Gordon Slater, conductor, Ottawa

13/12/04: Performance of The Snow Queen, for string quartet and narrator, by members of l'Orchestre national de France, Théâtre des Champs-Elysées, Paris, France

11/03/05: Performances of Hope and The Secret Garden of the Tuatha Dé Danaan (from Dreams of the Sídhe), for string nonet, Quips and Cranks, for piano, Danses folles et amoureuses, for flute, oboe, violin, violoncello and harpsichord, movements from Zodiac Dances, for string quartet, Autumn and The Return of the Hero, for voice and piano, and Tango!, for clarinet, violin and piano, as part of the Ottawa Chamber Music Society Composer Portrait Series, St. Andrew's Presbyterian Church, Ottawa

2004/05 season: Performance of Bonavista, for clarinet and orchestra, Mario Poirier, clarinet, Ottawa Chamber Orchestra, David Thies-Thompson, conductor, date and place TBA

2004/05 season: Release of recording of Kalenda Maya, for brass band, on Brass Connections CD, performed by the Hannaford Street Silver Band, Gary Kulesha, conductor

2005/06 season: Performance of The Little Mermaid, for narrator and chamber ensemble, by members of l'Orchestre national de France, Théâtre des Champs-Elysées, Paris, France

Compositions | Program Notes | Reviews | Recordings | Biography | Biographie en français | Concerts and Broadcasts | Awards, Commissions and Grants | Publications | Bibliographic References | Ordering Scores and Recordings | Links to Other Music and Composer Sites | Return to Top of Page | Return to Main Menu | EMAIL Contact

All scores (free on library loan) and parts (rental) are available from:

The Canadian Music Centre
20 St. Joseph Street
Toronto, Ontario, M4Y 1J9
Tel.: 416-961-6601
FAX: 416-961-7198
EMAIL: library@musiccentre.ca
http://www.musiccentre.ca/

OR

Centre de musique canadienne
430, rue Saint-Pierre
Bureau 300
Montréal, Québec, H2Y 2M5
Tel.: 514-849-9176
FAX: 514-849-9177
EMAIL: quebec@centremusique.ca

Scores of Lullaby are available from:

Alberta Keys Music Publishing Co.
37 Hollyburn Road S.W.
Calgary, Alberta, T2V 3H2
Tel.: 403-255-6029
FAX: 403-640-4215
EMAIL: info@albertakeys-musicpublishing.com
http://www.albertakeys-musicpublishing.com/

Compositions | Program Notes | Reviews | Recordings | Biography | Biographie en français | Concerts and Broadcasts | Awards, Commissions and Grants | Publications | Bibliographic References | Ordering Scores and Recordings | Links to Other Music and Composer Sites | Return to Top of Page | Return to Main Menu | EMAIL Contact

• Alberta Keys Music
• The Canada Council for the Arts
• Canadian Music Centre
• Carleton University
• CBC Records
• Classical Search
• The Eckhardt-Gramatté National Music Competition
• Hannaford Street Silver Band
  
• Jaymar Music Limited
• The Lied and Song Texts Page
• The Living Composers Project
• The Ontario Arts Council
• Richard Todd: Opus Pocus
• The Ottawa International Chamber Music Festival
• St. Lawrence String Quartet
• SOCAN
• Thirteen Strings of Ottawa Chamber Orchestra
• Christos Hatzis
• Jan Jarvlepp
• Gary Kulesha
• Larysa Kuzmenko
  
• Marjan Mozetich
• Kelly-Marie Murphy
  
• John Oliver
• Heather Schmidt
  
• Rodney Sharman