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Upstream Music Association fonds File
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Minutes of Undercurrent meetings

File also includes budgets, reports to the Board of Directors for Upstream, and a copy of the Certificate of Registration from the Province of Nova Scotia (under the Partnerships and Business Names Registration Act) for Undercurrent Recordings (dated August 6, 1992).

Minutes of Undercurrent records meeting

File contains minutes from a meeting July 13, 1993 between Laura Hoffman, Paul Cram, Michael LaLeune, Steven Naylor, Jeff Reilly, and Bob Bauer. File also contains correspondence on the Mark Duggan Project; a draft of Undercurrent Recordings' policies; and a report to the Board of Directors of the Upstream Music Association by Steven Naylor.

Muraille de Cayne : tenor saxophone

File contains two copies of the tenor saxophone part of a composition entitled "Muraille de Cayne." "Robert Leriche" is handwritten at the bottom of one of the parts, potentially indicating him as the composer.

Nasca lines : accordion, Irish harp, and synthesizer

File contains a complete score for the accordion, Irish harp, and synthesizer player, with the exception of parts 3A and 4 where s/he is tacit. Because of the graphic notation in parts 1, 2, 3, 5, and 7, there are no individual instrumental scores for these parts of the composition; instead, the musician was given a copy of the full score or a score for a group of instruments (e.g. part 3). The musician then annotated their score appropriately. This part was likely performed by Sandy Moore, an accordion, Irish harp, and piano player with the Upstream Ensemble.

Nasca lines : alto saxophone in E-flat and soprano saxophone in B-flat

File contains a copy of the performance notes and a complete score for the alto and soprano sax player, with the exception of parts 2 and 3A where s/he is tacit. Because of the graphic notation in parts 1, 3, 5, and 7, there are no individual instrumental scores for these parts of the composition; instead, the musician was given a copy of the full score or a score for a group of instruments (e.g. part 3). The musician then annotated their score appropriately. The alto and soprano saxophone parts were performed by Don Palmer, an Upstream musician, at the premiere performance.

Nasca lines : baritone saxophone in E-flat

File contains a copy of the performance notes and a complete score for the baritone sax player, with the exception of part 3A where s/he is tacit. Because of the graphic notation in parts 1, 3, 5, and 7, there are no individual instrumental scores for these parts of the composition; instead, the musician was given a copy of the full score or a score for a group of instruments (e.g. part 3). The musician then annotated their score appropriately. The baritone saxophone part was performed by Dawn Hatfield, an Upstream musician, at the premiere performance.

Nasca lines : bass clarinet in B-flat

File contains a copy of the performance notes and a complete score for the bass clarinetist, with the exception of part 3A where s/he is tacit. Because of the graphic notation in parts 1, 3, 5, and 7, there are no individual instrumental scores for these parts of the composition; instead, the musician was given a copy of the full score or a score for a group of instruments (e.g. part 3). The musician then annotated their score appropriately. The bass clarinet part was performed by Jeff Reilly, an Upstream musician, at the premiere performance.

Nasca lines : bassoon

File contains the performance notes and bassoon parts for all sections of the composition except Part 3A, where the bassoon is tacet. Because of the graphic notation in parts 1, 2, 3, 5, and 7, there are no individual instrumental scores for these parts of the composition; instead, the musician was given a copy of the full score or score for a group of instruments (e.g. parts 2 and 3). The musician then annotated their score appropriately. The bassoon part was played by Chris Palmer, a bassoonist with Symphony Nova Scotia.

Nasca lines : clarinet in B-flat

File contains the performance notes and clarinet parts. Because of the graphic notation in parts 1, 2, 3, 3A, 5, and 7, there are no individual instrumental scores for these parts of the composition; instead, the musician was given a copy of the full score or score for a group of instruments (e.g. parts 2 and 3). The musician then annotated their score appropriately.

Nasca lines : double bass

File contains the performance notes and double bass parts for all sections of the composition except part 3A where the double bass is tacet. Because of the graphic notation in parts 1, 2, 3, 5, and 7, there are no individual instrumental scores for these parts of the composition; instead, the musician was given a copy of the full score or a score for a group of instruments (e.g. part 3). The musician then annotated their score appropriately.

Nasca lines : drums

File contains a copy of the performance notes and a complete score for the drummer, with the exception of part 2, page 1 of part 3, and part 4 where s/he is tacit. Part 1 is also not included in Upstream's Music Score Library as the drum player took this part, as indicated in a note on the front cover of the drum folder. Because of the graphic notation in parts 1, 3, 5, and 7, there are no individual instrumental scores for these parts of the composition; instead, the musician was given a copy of the full score or a score for a group of instruments (e.g. part 3).

Nasca lines : electric bass

File contains a copy of the performance notes and a complete score for the electric bassist, with the exception of parts 3, 3A, and 4 where s/he is tacit. Because of the graphic notation in parts 1, 3, 5, and 7, there are no individual instrumental scores for these parts of the composition; instead, the musician was given a copy of the full score or a score for a group of instruments (e.g. part 3). The musician then annotated their score appropriately.

Nasca lines : flute

File contains the performance notes and flute parts for all but part 2 of the composition, as the flute is tacet during this section. Because of the graphic notation in parts 1, 3, 3A, 5, and 7, there are no individual instrumental scores for these parts of the composition; instead, the musician was given a copy of the full score or, in the case of part 3, a copy of the score for the wind quintet. The musician then annotated their score appropriately.

Nasca lines : guitar

File contains a copy of the performance notes and a complete score for the guitarist, with the exception of part 4 where s/he is tacit. Because of the graphic notation in parts 1, 2, 3, 5, and 7, there are no individual instrumental scores for these parts of the composition; instead, the musician was given a copy of the full score or a score for a group of instruments (e.g. part 3). The musician then annotated their score appropriately.

Nasca lines : oboe

File contains the performance notes and oboe parts for all but part 2 of the composition, as the oboe is tacet during this section. Because of the graphic notation in parts 1, 3, 3A, 5, and 7, there are no individual instrumental scores for these parts of the composition; instead, the musician was given a copy of the full score or, in the case of part 3, a copy of the score for the wind quintet. The musician then annotated their score appropriately. The oboe part was likely played by Suzanne Lemieux, an oboist with Symphony Nova Scotia.

Nasca lines : percussion

File contains the performance notes and percussion parts for sections 3, 4, and 7 of the composition. The percussion is tacet in Parts 2 and 6, and there is a note on the folder from Jim F[araday], a percussionist with Upstream, indicating that he took parts 1 and 5 from the folder at some point. Because of the graphic notation in parts 3 and 7, there are no individual instrumental scores for these parts of the composition; instead, the musician was given a copy of the full score or score for a group of instruments (e.g. part 3). The musician then annotated their score appropriately.

Nasca lines : piano and synthesizer

File contains the performance notes and piano and synthesizer parts for all sections of the composition except parts 3A and 6, where the piano and synthesizer are tacet. Because of the graphic notation in parts 1, 2, 5, and 7, there are no individual instrumental scores for these parts of the composition; instead, the musician was given a copy of the full score or score for a group of instruments (e.g. part 2). The musician then annotated their score appropriately. The piano and synthesizer part was likely played by Steven Naylor, a pianist and synthesizer player with the Upstream Ensemble.

Nasca lines : tenor saxophone in B-flat

File contains a copy of the performance notes and a complete score for the tenor sax player, with the exception of part 3A where s/he is tacit. Because of the graphic notation in parts 1, 3, 5, and 7, there are no individual instrumental scores for these parts of the composition; instead, the musician was given a copy of the full score or a score for a group of instruments (e.g. part 3). The musician then annotated their score appropriately. The tenor saxophone part was performed by Paul Cram, an Upstream musician, at the premiere performance.

Nasca lines : trumpet in C

File contains the performance notes and trumpet parts for all sections of the composition except Part 2, where the trumpet is tacet. Because of the graphic notation in parts 1, 3, 3A, 5, and 7, there are no individual instrumental scores for these parts of the composition; instead, the musician was given a copy of the full score or score for a group of instruments (e.g. part 3). The musician then annotated their score appropriately. The trumpet part was likely played by Richard Simoneau, a trumpet player with the Upstream Orchestra, as there are references to a trumpeter named Richard in annotations of other orchestral parts.

Nasca lines : viola

File contains the performance notes and viola parts for all sections of the composition except part 3A where the viola is tacet. Because of the graphic notation in parts 1, 2, 3, 5, and 7, there are no individual instrumental scores for these parts of the composition; instead, the musician was given a copy of the full score or a score for a group of instruments (e.g. part 3). The musician then annotated their score appropriately. The viola part was likely played by Steven Dann, a Toronto violist who collaborated with the Upstream Ensemble.

Nasca lines : violin 1

File contains the performance notes and first violin parts for all sections of the composition except part 3A where the first violin is tacet. Because of the graphic notation in parts 1, 2, 3, 5, and 7, there are no individual instrumental scores for these parts of the composition; instead, the musician was given a copy of the full score or a score for a group of instruments (e.g. part 3). The musician then annotated their score appropriately. For the premiere performance, the string section was led by first violinist, Mark Fewer, a member of Symphony Nova Scotia.

Nasca lines : violin 2

File contains the performance notes and second violin parts for all sections of the composition except part 3A where the second violin is tacet. Because of the graphic notation in parts 1, 2, 3, 5, and 7, there are no individual instrumental scores for these parts of the composition; instead, the musician was given a copy of the full score or a score for a group of instruments (e.g. part 3). The musician then annotated their score appropriately.

Nasca lines : violincello

File contains the performance notes and viola parts for all sections of the composition except part 3A where the cello is tacet. Because of the graphic notation in parts 1, 2, 3, 5, and 7, there are no individual instrumental scores for these parts of the composition; instead, the musician was given a copy of the full score or a score for a group of instruments (e.g. part 3). The musician then annotated their score appropriately.

Nasca lines : voice

File contains the performance notes and voice part for all sections of the composition except parts 3 and 4, where the voice is tacet. Because of the graphic notation in parts 1, 2, 5, and 7, there are no individual instrumental scores for these parts of the composition; instead, the musician was given a copy of the full score. The musician then annotated their score appropriately. The voice part was likely sung by Janice Jackson, a soprano with the Upstream Ensemble, who is referenced in the piano and synthesizer part.

Open Waters Festival postmortem

File contains correspondence concerning the aftermath of the Open Waters Festival. Topics include the reconciliation of ticket counts and cash box intakes; budget; production report; and thank yous.

Open Waters masters : [sound recordings by the Upstream Ensemble]

File contains the master tape for Upstream Ensemble's "Open Waters" CD, including recordings of the following compositions: "Standing in the Light" by Steve Tittle; "Nocturne" by Steven Naylor; "Pulseight" by Tom Roach; "Winds of Lyra" by Sandy Moore; "Fragments" by Don Palmer; "Sunrise to a Mad Afternoon" by Jeff Reilly; "Immortal Coil" by Paul Cram; " and "On the Wind" by Bob Bauer.

Press kit for the Upstream Ensemble

File contains a promotional photograph of the ensemble with their instruments and a promotional statement about the group for the press. Both were sent to Christopher Both, a cellist in the ensemble. The photograph was taken by George Georgakakos.
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