The following text may have been generated by Optical Character Recognition, with varying degrees of accuracy. Reader beware!

music Music May Be the Food of Love, but Will it Pay the Bills? b) Meredith Woodward Remember that sax player in high school who wowed em at even, Christmas concert? Or the kid who could sit down at a piano and play everything from Chopin to blues without batting an eye? Whatever happened to them? The likelihood that they're making a living playing music on the strength of their highschool prowess is not great. "The music business is tighter than it ever has been," according to Mike Reveley. coordinator of the Jazz Studies program at Capilano College. "If you're playing bass in a rock-and-roll band and all you can do is play bass, when the band folds, you end up working in a garage." Bui Capilano College has something more to offer music students. Two of its four programs. Music Therapy and Jazz Studies, lead to Bachelor degrees through the Open Learning Agency. "The degree in Jazz Studies offers an indeplh education." says Reveley. "It concentrates on jazz, but includes classical music and general courses in the humanities, social sciences and math or science. Graduates are more broadlyeducated and have more to offer whether they pursue careers in music, education, or other areas entirely." Although Cap has offered music courses since 1970, the degree programs are recent additions. The Jazz Studies program enrolled its first degree students in the fall of 1991. The first year of the Music Therapy degree was 1990. Foa Liz Moffitt, coordinator of the Music Therapy program, establishing the degree was imperative. "Our professional association demands it." she says. "Many music therapists serve on treatment learns in hospitals. Having a degree strengthens ihe professional regard thai therapists receive in such sellings." Moffiu notes lhat many students come to Cap specifically because of the degree. People from as far away as Quebec and PE1 are currently enrolled in both programs and alumni include musicians from Germany and South Africa. While most students are in their early 2()s and 30s. one professional musician in the Jazz Studies program is 72. Many Lower Mainland ihcatR'-goers will he familiar u ith music therapy student Marcus Moselcy. well known for his performances in such Arts Club hils as Ain't Wisbehavin' and Black and Gold Revue. Two years ago. ihe Texas native found himself in an "entertainment midlife crisis. I enjoy being on stage." he says, "but there was a part missing--the part involved w ith people on a one-lo-one basis." He's found the course demanding, but very rewarding. One elderly Chinese patient, who had severe motor problems and spoke no English, particularly affected him. "Through music able to get her lo laugh and participate." he says. "She tossed the ball, she clapped, she caught on. It w as amazing to see her open up. 'I've found it wonderful lo be able to use music to help restore a quality of life lo someone." he says. "Music can go to places lhat words can't touch." he adds. "It can turn lights on inside." Having the degree is important to Moseley. He wants to work in palliative care when he completes his studies. " A n d I know if I want to work in a hospital, I need the piece of paper." he says. Meredith Woodward is an actress, playwright and author of the hooks. The SuperGuide to the Interior of B.C. and Land of Dreams: A Pictorial History' of the Interior of B.C. one of the most accomplished vocal ensembles of the time. The Cantata Singers first performed the Scarlatti Stabat Mater several seasons ago. and the piece has been brought back for these 20th anniversary celebrations by popular request--both from within the choir and from the audience. Fankhauser is clearly delighted with the prospect of remounting this work. He comments, "it's just one of those one-of-akind jewels lhat you find." The Cantus Missae by Joseph Reinberger forms an interesting counterpoint to the Scarlatti. It too is a work unequalled in the output of its composer; it too is scored for double choir; it too makes serious demands on the vocal skills of its performers; and it too offers in reward a richly complex harmonic texture. But here the similarities end. In the Cantus Missae, the two choirs arc treated very much as two separate ensembles, and Reinberger exploits the possibilities for antiphonal effects between them as they engage in dialogue. "The name Joseph Reinberger doesn't exactly leap to mind when you think of great composers of the 19th century," Fankhauser admiLs. He discovered the work of Reinberger through a music publisher friend in Stuttgart. " A t first, looking through the scores. Reinberger seemed a bit like a poor man's Brahms." confesses Fankhauser. "But then I got a hold of the Cantus Missae, and here was some really great stuff." Fankhauser concludes, "this work came as a complete surprise. No other piece by Reinberger even comes close to its musical language and sense of lightness. I think this will be one of the monuments of 19th century Conductor Celebrates 20 Years with Cantata Singers by Katherine Scheldt This is a banner year for the North Shorebased Vancouver Cantata Singers. It marks the 20th anniversary of the musical directorship of conductor James Fankhauscr. To celebrate, ihe Cantata Singers have released their first compact disc recording. Venetian Vespers of 1640, on the Skylark label. At their season opener at the Orpheum in November. Fankhauser led the Cantata Singers, with the Pacific Baroque Orchestra and a stellar list of guest soloists, through one of the great masterworks of the choral repertoire, J.S. Bach's Mass in B Minor. This spring, Fankhauser lakes ihe Caniata Singers and its loyal audience on an equally ambitious, but very different musical journey. O n March 4 and 6. at Ryerson United Church, the Cantata Singers will perform an unusual and distinctive pair of choral works; (he Stabat Mater by Domenico Scarlatti, and the Cantus Missae by Joseph Reinberger. Domenico Scarlatti is much better known for his elegant and intricate keyboard works than for his choral music. The Stabat Mater was a product of his youth, and reflects his passionate reading of one of the most poignant texts in Christendom. The work is scored for double chorus, with two sopranos, alto, tenor and bass in each choir, but the choirs are treated as one large ensemble. According to Fankhauser. "it's really gorgeous writing, taking advantage of four soprano lines, intertwining and peeling off like birds in flight." The music is richly textured and quite difficult to sing, and was probably originally performed by the Pope's Choir at the Vatican Conductor James Fankhauser has a penchant for musical discovery and innovation, particularly in regard to his specialty. Baroque music. In preparing performances of this repertoire. Fankhauscr goes back to original sources to enrich his interpretations, often coming up with groundbreaking new approaches. At least one of these--placing the choir in front of the orchestra--has been widely influential through the international publication of Fankhauser's research. In keeping with lhat tradition of innovation, this will be the first complete performance of Reinberger's Cantus Missae ever heard in Vancouver. Says Fankhauser. "I think people will appreciate ihe strength." Vancouver Cantata Singers will perform Scarlatti's Stabat Mater and Reinberger's Cantus Missae at 8 pm. Friday March 4th, and again at 2:30 pm. Sunday. March 6th, at Ryerson United Church. Tickets are available through all Ticketmaster outlets. For more information, call 921-8588.