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Array’s Productions

The Array Ensemble

THE ARRAY ENSEMBLE has been bringing cutting edge contemporary chamber music to audiences since 1972 and in 2022|23 celebrates its 50th Anniversary! One of the founding members of Canada’s new music scene, Array’s Ensemble is foremost a virtuosic chamber group that exists to take risks and push the boundaries of musical expression.

The Array Ensemble is widely recognized for its innovative, eclectic repertoire and for consistently virtuosic performances. The Ensemble is also prized for commissioning composers young to old, new to established, from all cultures, and working with them to create the ultimate performance experience.

Array’s group has premiered hundreds of works by notable Canadian and International composers who have written for them, including Jo Kondo, Walter Zimmermann, Christian Wolff, Terry Riley, James Tenney, Claude Vivier, Gerald Barry, Raven Chacon, Dai Fujikura, Nicole Lizee (and former Artistic Directors) Linda Catlin Smith, Martin Arnold, and Allison Cameron. Arraymusic’s members have studied the rich patrimony of classical music, as well as many other traditional and emerging musics but, collectively, are fully contemporary, open and unorthodox in their approach.

Tours have included appearances at the Athens, Huddersfield, Belfast, and Vienna Modern Festivals, Festival Musiques en Scène in Lyon, New Music America, and the North American New Music Festival. Arraymusic has released 5 compact discs under its own name – Strange City/Ville Étrange, Chroma, New World, Music from Big Pictures, 25 Miniatures, Arraylive! and Array Legacy – all acclaimed for their artistic excellence and high production values; other performances are available on compilation discs.

At its heart, this ensemble is full of wit, humanity and imagination in possession of a distinctive vigour that makes it one of Canada’s true, if under-discovered, national treasures.



“One of Canada’s finest new music groups.” — Glen Hall, Exclaim

“One of North America’s more astonishing founts of new music…” — The Village Voice

“Some of the most exciting performance works of this century…” — The Globe and Mail

“… a virtuoso display of timing and technique.” — The Toronto Star

“… leaves the audience speechless before they stand to break into applause. This ensemble is a model for all musicians — ‘contemporary’ or not.” — Bulletin de Collectif et Cie, Annecy

“… this sophisticated and refined septet of first-rate players from Toronto would compel and fascinate any pair of ears… Arraymusic’s sound was radiant.” — The Mail-Star, Halifax

“Their ensemble playing is of enviable precision…they function like a music machine, but above and beyond this they prevail and breathe life into the performance. … Arraymusic’s musicians… seduce with expansive, sensuous sounds.” — Basel (Switzerland)

“A serious ambassador of the [North] American avant garde.” — Mannheimer Morgen

I want to thank and congratulate you on a fine performance yesterday in the Richard Bradshaw Amphitheatre. It was the perfect program for that crowd and, judging by the audience response, you won over some new supporters for the contemporary cause. The combination of your artistic integrity and the warm, insightful, entertaining commentary with the obvious joy of your music making made for a really dynamic and engaging hour.” — Nina Draganic, Former Programming Director, Canadian Opera Company’s Noon-hour Series


Zoma Maduekwe, Curator

Curatorial Statement:

“Behaviours features artist-musicians who boldly integrate digital technology and interactivity into musical production and performance. Each installment aims to uncover new practices in both creating sound work and relaying new discoveries via performance and presentation. In this series, I will question the traditional performance space and the conditions it creates for listening experiences, challenge those conditions, and create new experiences.

As an artist, I’m greatly inspired by the community and innovation built through the development of collaborative technology. Computer programming and interactive media software, for example, have provided many of us with a more in-depth perspective on the quality and science of sound. These tools have also given us infrastructure to co-create with other musicians and with audiences. In programming, “behaviours” are tasks that are performed based on a given input. They take in information and transmit a corresponding result. They are inherently interactive and function on a user-defined logic.

With or without digital technology, I’m fascinated by artists who are able to create personalized systems of logic in which their sound works exist, and create connections with others.

In my time at Array, I look forward to working with musicians in the fields of sound installation & sculpture, computer programming, sound toys & games, invention, and traditional performance that centers interactivity. In softening the barrier between artist and performer, Behaviours will present novel and impactful sound art performances.”