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MacIntyre, David K. (b. 1952, Yorkton, Saskatchewan). Canadian composer of stage, instrumental and vocal works that have been performed in Asia, Europe and North America.
Prof. MacIntyre studied brass instruments, piano, theatre arts, and voice as a child and attended the Banff School of Fine Arts in 1969, after which time he focused on composition. He studied composition with Murray Adaskin at the University of Saskatchewan from 1970–72. He then studied composition with Rudolf Komorous at the University of Victoria from 1973–75 and 1977–79, where he earned his BMus with very high distinction and his MMus and where he was the first graduate student in composition of Rudolf Komorous.
Among his many honors are inclusion in Canadian Who's Who since 1992 and recognition as One of Top 10 Canadian Masterworks of the 20th Century by the magazine Danse Canada Dance (2003, for Sisyphus). He has received commissions from the CBC Radio Orchestra, the Elektra Women's Choir, Festival Vancouver, the First New York International Festival of the Arts, the Fondation Jean-Pierre Perreault, the INDE-90 Dance Festival, the Karen Jamieson Dance Company, the Purcell String Quartet, Rumble Productions, the ensemble Standing Wave, the Vancouver Chamber Choir, Vancouver Opera, the Vancouver Playhouse, the World Festival at Expo '86, and the Young Musicians Millennium Project, among other choruses, ensembles and organizations. His music has been performed in Australia, Canada, Denmark, Finland, Italy, Japan, The Netherlands, New Zealand, Spain, Sweden, Taiwan, the UK, and the USA.
Prof. MacIntyre is also active in other positions. He worked as an actor and singer in dance, opera, performance art, and theatre in Canada and the USA from 1970–98. He co-founded with Christopher Butterfield, Patrick Carpenter, Stephen Horning, Bill Sample, and Owen Underhill the collective The Composers Group in Victoria in 1973 and co-produced concerts of its members' music from 1973–75, including a six-week tour of Austria, Belgium, France, Germany, The Netherlands, and the UK in 1975.
He has taught composition and interdisciplinary collaboration at Simon Fraser University in Vancouver since 1979, where he has been Professor of Music since 1994 and has served three terms as chair of its MFA Program in Interdisciplinary Studies since its inception in 1990. In addition, he co-founded with Barry Truax the program in contemporary music at the School for the Contemporary Arts of Simon Fraser University in 1980.
CONTACT INFORMATION
E-mail address: macintyr@sfu.ca
Street address (university): Prof. David K. MacIntyre, School for the Contemporary Arts, Simon Fraser University, Burnaby, BC V5A 1S6, Canada
Telephone (university): 778 782 3725
COMPLETE LIST OF WORKS
STAGE (1972–87): Hamlet (integrated music, play by William Shakespeare, production by Raymond Clarke), soprano, mixed chorus, oboe, muted trumpet, trombone, snare drum, tape, 1972; Doppelgänger (music theatre work, words by the composer), oboe-speaker, live electronics, 1974; Humulus the Mute (1 act opera, words by Jean Anouilh [translated by Michael Benedickt]), dramatic soprano, lyric soprano, tenor, baritone, 5 actors, oboe, soprano saxophone, bassoon, trumpet, trombone, 2 violins, viola, double bass, harpsichord, 1977; Klee (words by Paul Klee), male speaker-actor, flute, violin, double bass, piano, melodica, tambourine (+ triangle, floor tom), 1978; Refrains: An Opera (2 act experimental opera, words by the composer, choreography by Jean-Pierre Perreault; 8 dancers wear clog boots and stand on resonating boxes), 40 voice-dancer-actors (various + 70 harmonicas, ocarina, banjo, mandolin, 2 violins, viola, cello, double bass, piano, 2 music-box pianos, portative organ, vibraphone, steel drum, percussion toys), tape, 1981; Aria da Capo (2 act opera, words by Edna St. Vincent Millay), mezzo-soprano, baritone, 2 tenors, speaker-actor, violin, double bass, piano, accordion, 1982; Romeo and Juliet (integrated music, play by William Shakespeare, production by Bob Baker), mixed chorus (performed by full company, excluding principals), 1982; Calliope (choreography by Jean-Pierre Perreault; all dancers wear male tuxedos), 3 female dancers (all + 2 harmonicas), 3 male dancers (all + 2 harmonicas, any one + chromatic harmonica [with plunger]), 1982; Songs of the New Vaudeville (2 act song and dance project, words by the composer, choreography by Susan Osberg), female dancer, tenor, piano, percussion, 1983; Sisyphus (choreography by Karen Jamieson, words by the composer), 3 female dancers (all + voice), 4 male dancers (all + voice), tenor (+ synthesizer), 3 roto-toms (+ floor tom) (1 player), 1983; Road Show (choreography by Karen Jamieson), 3 female dancers, 4 male dancers, tape, 1985; A Strange Play about the President of France (choreography by the composer), female dancer, tape, 1985; Silent Movie (choreography by the composer, words by the composer), tenor (+ piano), 5 female dancers, flute, violin, cello, synthesizer, 1985; State of the World (music theatre work, words by the composer, choreography by the composer), actor, actress, alto saxophone (+ tenor saxophone), synthesizers (+ drum machine) (1 player), 1986; The Highway 86 Event (choreography by Jean-Pierre Perreault; all musicians are costumed and mobile, using lyres for music stands), 50 or more dancers, soprano saxophone, 2 alto saxophones, 2 tenor saxophones, 2 baritone saxophones, bass saxophone, snare drum, bass drum, 1986; Heartland (1 act monodrama, words by the composer), tenor, alto saxophone, tenor saxophone, guitar, synthesizer, percussion, 1987
STAGE (1988–): Piazza (choreography by Jean-Pierre Perreault; all musicians are costumed and mobile, using lyres for music stands), 12 female dancers, 12 male dancers, 2 soprano saxophones, 2 alto saxophones, 2 tenor saxophones, 2 baritone saxophones, 2 bass saxophones, 1988; Sanctuary (full-evening instrumental theatre work, vocalise; all musicians are mobile, moving between 15 stations), boy soprano, violin, string orchestra (6 violins, 3 violas, 3 celli, 3 double basses), 1989 (also concert version); Smudge (choreography by Lola MacLaughlin, the composer; bass clarinettist must be female), female dancer, bass clarinet, 1990; The Architect (2 act opera, words by Tom Cone), soprano, mezzo-soprano, tenor, baritone, comprimario rôles (soprano/mezzo-soprano/tenor, mezzo-soprano, tenor, baritone, bass), 16 or more mixed voices, harp, 2 percussion, 7 violins, 3 violas, 2 celli, double bass, 1994; Communion (1 act a cappella opera, words by the composer), 24–48 female voices, 1996; Squeeze (duet, words by the composer, choreography by Catherine Lubinsky), female dancer, male voice-dancer (+ concertina), 1998; Love in Public (2 act cabaret, words by E.B. Browning), soprano, mezzo-soprano, tenor, baritone, piano, 2004; Tom Pinkerton, The Ballad of Butterfly's Son (2 act musical drama, words by Hiro Kanagawa, the composer), soprano, 2 mezzo-sopranos, tenor, 2 baritones, bass, silent rôle, comprimario rôles (soprano, mezzo-soprano, alto, 2 tenors, 2 baritones), 16 or more mixed voices, flute/clarinet, trumpet, trombone, violin, viola, cello, double bass, piano, percussion, 2008
INSTRUMENTAL: Sir Thomas More, by Popular Repute, A Saint, 2 French horns, 3 B-flat trumpets, 2 trombones, tuba, 1972; Lothlorian, flute, timpani, vibraphone, 1972; Fantasy of Pan, flute, piano, 1973; Gemini Quintet, flute, oboe, clarinet, French horn, bassoon, 1973; Atlantis, French horn (+ claves), 2 trumpets (1st + güiro, 2nd + maracas), trombone (+ temple block), tuba (+ triangle), 1974; Salt (concerto), piano, ensemble (flute [+ piccolo], oboe, clarinet, bassoon, 2 French horns, trumpet, violin, 2 celli, double bass, 2 percussion), 1975; Symphony, orchestra (8 winds, 11 brass, 2 percussion, strings), 1976; Deplacement, contrabassoon, ensemble (2 flutes, oboe, 2 clarinets, piccolo trumpet, trombone, percussion), 1977; Pantomime, soprano saxophone, piano, 1978; Sanctuary, boy soprano, violin, string orchestra (6 violins, 3 violas, 3 celli, 3 double basses), 1989 (concert version of stage work); Gazebo, string quartet, 1991; Home, French horn, string orchestra, 1992; Binner Music, 4 tuned wine bottles (1 player with 2 pencils), 2000; Intimate Letters, trombone, ensemble (clarinet, violin, cello, piano, percussion), 2001; Berceuse in Memory of Murray Adaskin, violin, cello, piano, 2002; Trudeau Dances, large orchestra (89 players), 2003
VOCAL: Alienation (words by Sandra Cryder), mezzo-soprano, French horn, 1973; Rudo's Boys (words by the composer), 2 tenors, 2 ocarinas, flute, guitar, mandolin, piano, melodica, 1975; Dues Payin' Phase Days (words by the composer), female jazz voice, 2 alto saxophones, 2 tenor saxophones, baritone saxophone, 3 B-flat trumpets, 2 trombones, bass trombone, electric guitar, bass guitar, piano, drumkit, 1976; Mass, dramatic soprano, 3 mixed voices, flute, clarinet, bass clarinet, mandolin, 2 violins, viola, cello, accordion, harpsichord, 2 percussion, 1978; In Memoriam John Gardner 1932–1982 (words by the composer, Last Rites), tenor, flute, English horn, violin, cello, piano, synthesizer, percussion, 1985; Benedictus, 60 or more mixed voices, orchestra (8 winds, 10 brass, timpani, percussion, strings), 1987; Addio (text from the word "addio"), mixed chorus, 1994; Ave Maria (text from the words "Ave Maria"), female chorus, 1994; Psalm 23, mixed chorus, 1999; In Flanders Fields (words by John McCrae), male chorus, 1999; Because of Love (song-cycle, words by Robin Skelton), soprano, baritone, piano, 2003; Say the Names (words by Al Purdy), coloratura soprano, children's chorus, marimba, 2003; Radio Songs (song-cycle, words by Robin Blaser), soprano, mezzo-soprano, tenor, 2005; Angels Reel (words by Robin Blaser), female chorus, 2006; Hammer (words by Tom Wayman), 6 mixed voices, 2008
(Last updated on February 11, 2009)
