
Winnipeg New Music Festival transformed the Bay basement into an extraordinary musical venue Thursday evening. /ANNE MARTIN
Review: Ghosts of The Hudson’s Bay Building @ Hudson’s Bay Basement (Winnipeg New Music Festival/Winnipeg Symphony Orchestra)
I…I don’t think this was the kind of music Hudson’s Bay trappers and fur traders played in 1670…(wink).
Last year, I was on Twitter and pictures started popping up of hundreds of people at the Pan Am pool at night, watching the Winnipeg Symphony Orchestra. I was both intrigued and irritated. What was going on and HOW did I not know about it?
This year, I vowed I would not miss out on whatever unique venue the Winnipeg New Music Festival had up their sleeve.

The mood lighting and expansive sound at WNMF concert in the Bay basement created a heartfelt, immersive atmosphere for musicians and patrons alike. /ANNE MARTIN
I arrived at The Bay early and shopped for a bit before the show. I love The Bay, but I don’t shop at the downtown location very often. I find it really depressing.
When I was small, I remember our yearly trips to The Bay (and Eaton’s) around Christmas to see the lights and do a bit of Christmas shopping. I remember the excitement as my tiny eyes, wide as saucers, tried to take in the splendor of it all.

Similar to WNMF performance at Pan Am Pool last year, there was a unique vibe to concert in the Bay basement. /DOUG KRETCHMER
Later in life, I enrolled at The University of Winnipeg and a trip to The Bay became part of my daily commute. I loved the hustle and bustle of The Bay and practically lived on hotdogs and malts at The Malt Shop in the basement.
The Malt Shop is long gone, and so it seems, is the grandeur of The Bay. Cold wire racks like shiny silver skeletons line its hollow walls. No character, no life, the space is a dismal shadow of its former self.
Spaces, however, are malleable and can be brought back to life. Tonight, The Hudson’s Bay Basement on Portage Avenue was full of life and it carried with it, the most interesting vibe.

The audience was encouraged to move around from one performance to the next. Some just remained in one spot as the sound carried brilliantly across this huge space. /ANNE MARTIN
If you haven’t seen it yet, check out my short video of what the Winnipeg New Music Festival did with the vast emptiness of the Hudson’s Bay Basement here: https://www.facebook.com/TicketMOMsters/videos/1594115840613442/
I loved walking into this space. The vibrant red walls at the entrance held the promise of something exciting.
As I descended the staircase, I was engulfed in the most calming, yet inviting blue light. I found a seat in the second row, close to the piano.
Artistic Director, Alexander Mickelthwate welcomed everyone and explained this space was to be treated almost like Folk Fest. There were six composers and performances; once one performance ended, we could travel to another space for the next performance. He said we were part of the performance and that it was going to be “a ritualistic, meditative experience”.
The first piece was called “Falling Through Time” by Alexina Louie. I was sitting so close, I could see the notes on the musician’s stands. But they’re not notes; they’re emotions.
The Winnipeg Chamber Music Society started to play and emotions rose from their instruments and fused with the sweeping blue light, like a quilt covering a vast ocean, each square a different feeling. The ocean immersed us and we rose and fell with the waves.
Goose bumps emerged on my legs as the Chamber played faster and faster and at the end, I knew this evening was going to be special.
- WCMS – Gwen Hoebig & Karl Stobbe (violins), David Moroz (piano). /DOUG KRETCHMER
- WCMS – Daniel Scholz (viola) & Yuri Hooker (cello). /DOUG KRETCHMER
The second piece was Emilie LeBel’s “Taxonomy of Paper Wings”, played by the Cecilia String Quartet. It had an eerie/spooky feel to it, perfect for an event with the word “Ghosts” in the title.

Each piece, like this one by Winnipeg New Music Festival String Quartet, contributed to the unique mood of the evening. /DOUG KRETCHMER
After each work, there was subdued confusion over where to drag your chair next. Luckily, there were no issues in finding spots where you could see the performances.
My favourite of the evening was Lubomyr Melnyk’s piece on the piano entitled, “The Dreamers Ever Leave You”. It was fast and somewhat repetitive, but in an uplifting way, like powerful waves, crashing against a rocky shore.

Lubomyr Melnyk delivered a stellar performance that amazed and enthralled the audience. /DOUG KRETCHMER
People sat on the floor, some slow danced, others kissed. Many lounged in their chairs with their eyes closed, taking in the environment.
There were an incredible amount of notes and in the end, it sounded like tiny rain drops, gently falling on a sandy beach. The notes stopped and Lubomyr clenched his fists, as anyone would after playing that many notes in a span of 15 minutes. A standing ovation greeted him as he rose from his piano bench. It was fantastic.
At this point, I stood up and slowly walked around. I wanted to hear the acoustics of this huge room and watch the people experience the moment.
The sound of Jessica Moss’ piece “Entire Populations”, carried beautifully in that old basement. I heard it as clearly standing beside her as I did at the back of the cavernous room.
It was an interesting piece; she used a violin, electronics and her own voice to create different sounds. At one point it sounded like wolves howling in the Arctic, their calls skipping across a vast landscape. The middle part was strong and heavy and the basement air felt thick as I walked around and around.
The fifth performance was Nicole Lizee’s “Isabella Blow at Somerset House” by the Cecilia String Quartet. It was really interesting, but my mind kept wandering. The quartet received a standing ovation for their performance as well.
The last performance featured about 30 female students from Miles MacDonell all dressed in black, standing in a large circle around the audience. The audience was standing and sitting around the WNMF String Quartet.
Matthew Patton’s “The Limits of Almost” started with the sound of the 30 singers humming and then oohing the same note. Gradually, the string quartet joined them and played what sounded like variations of similar notes.
Everything was really slow and the sound of the female singers bounced off the walls and filled the entire basement. This was my least favourite piece. It was performed really well, but that one note was not my favourite note. I found it really irritating after the first 10 minutes, like my brain was vibrating at an uncomfortable level, and I was relieved when it was over.
Despite the end, this was an amazing event. I’m a huge fan of listening to music in unique venues. When it’s done right, it enhances the music as well as the venue and tonight, that’s exactly what happened. I can’t wait to see (and hear) where the Winnipeg New Music Festival ends up next year. I’ll be there, guaranteed.
Good night!

Cecilia String Quartet created a sound that resonated throughout the Bay basement where approximately 1,000 people were in attendance. /DOUG KRETCHMER
TicketMOMster is a Rock and Jazz-loving Mom; single-handedly keeping Ticketmaster alive in Winnipeg. Follow her musical journey here: www.facebook.com/TicketMOMsters
Great review Anne. This is indeed one of my favourite festivals. Love the music and the open minded people who attend. I’ve attended the fest for many years and have gained not only great musical memories but many wonderful friends as well.
it’s so nice to have the pre and post concert talks and Q & A’s. To be able to really get into the performer and composer’s heads.
I have talked to many of the performers who also share the same sentiment about this festival and the art and music loving people in this city. Having lived in Vancouver and having spent much time in Toronto (and of course going to many concerts in both cities), I have found that Winnipeggers have a real, sincere appreciation for music and the arts.
Check out this email I received from Meredith Monk:
Dear Doug,
Thank you so much for sending me your wonderful photos and videos and the beautiful review. I missed Winnipeg as soon as I got home to the Big Applesauce. What an incredible community of music and art lovers! Being there really lifted my spirits in such a dark time.
Sending you, Noah Erenburg and your editor my deepest thanks.
…. now this amazing musician has been around the world and for her to say that WE lifted her spirits is very touching.