Volume 35 Number 15	Edmonton, Canada	April 3, 1998
http://www.ualberta.ca/~publicas/folio

Dr. Malcolm Forsyth

One of his students calls him "the Titanic of the Junos." That may be a small stretch, but there's no doubt Dr. Malcolm Forsyth has once again demonstrated he's one of the finest classical composers in the country.

When asked every reporter's typically banal question in such situations -- how does it feel to win your third Juno for Best Classical Composition? (he received the others in 1987 and 1996) -- the University of Alberta music professor responds wryly: "It feels just like the third time."

Jesting aside, however, Forsyth says while "it's very nice to have this type of approbation," this award is probably the finest of the three. That's because Electra Rising, the winning concerto for cello with orchestra, was written especially for his daughter Amanda Forsyth, Julliard-trained principal cellist with the Calgary Philharmonic Orchestra, and soon to be principal cellist with the National Arts Orchestra.

In fact no one is quicker to set the record straight than Amanda, insisting the Juno is "Our award -- both of our names are going on it. We worked on it together when he was writing it, and through my fax machine I would give suggestions. So it's really a partnership. Since I've grown up with his music, I think I really understand how it should sound. He never really had to tell me how to play it because I had this instinct."

Forsyth describes Electra Rising as "very much me" -- that is, eclectic, but also extremely accessible, and certainly not the type of work to end up collecting dust behind a bookcase. In fact, you may find yourself listening to it when you least expect it. "Somebody told me she walked into A & B (Sound) the other day, and it happened to be playing out loud," says Forsyth proudly.

Because he was born in South Africa, and studied at the University of Capetown, there is often a strong African influence in his music, he says, in terms of both melody and rhythm. The second movement of Electra Rising, for example, is entitled Mayi Buye Afrika! Zulu for "Let Africa Return," the cry of the African National Congress during their struggle against apartheid.

"The key to Malcolm is that he's modern but never stretches the envelope too far," says Forsyth's graduate student in composing, Graham Kidd. "He tries to be as musical as possible, and is always trying new techniques, but they always seem to work."

As to future endeavors, Forsyth admits he's been in "a bit of a trough" lately but is getting set to embark on a new concerto for accordion and orchestra as soon as classes end this term. But before that, Forsyth will conduct the University of Alberta Symphony Orchestra, the Madrigal Singers and the Concert Choir at the Winspear Centre on Sunday, April 5 at 8 p.m. in an event called 'The Music Makers,' to mark the 90th anniversary of the University of Alberta.

After serving the U of A's music department for 30 years, Forsyth is only four years shy of retirement. He'd like to continue writing and conducting, he says, but also plans to begin a new career reflecting more dramatic departures.

"I'm a bit of a Renaissance man in that sense. I want to do carpentry and painting, and I want to learn other languages."

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