Produced by Charlie Ringas
Conducted by Scott Good

Mesotron Orchestra

  • Carol Ann Savage - flute

  • Micah Heilbrunn - clarinet

  • Larkin Hinder - bassoon

  • James Freeman - trumpet

  • Rob Tilley - trombone

  • Tim Francom - percussion

  • Mark Duggan - marimba / vibraphone

  • Julie Loveless - piano

  • Kristen Theriault - harp

  • Phoebe Tsang - violin

  • Cameron Ogilvie - viola

  • Felix Deak - cello

  • Peter Pavlovsky - contrabass

Spectra Chorus

  • Maria Thorburn - soprano

  • Maria Riedstra - mezzo

  • Vilma Vitols - alto

  • James McLennan - tenor

  • Giles Tomkins - baritone

  • Stephen Hegedus - bass

​Compositions written by Charlie Ringas
Recorded by John Magyar on November 18 + 19, 2005 at the Premiere Dance Theatre, Harbourfront Centre, Toronto.
Mixed, edited and mastered by John Magyar at Psychospace Sound, February/March 2007.
Remastered by Garnet Willis at Noisetree Digital Audio, January 2015

Comprising of a Two-Part Suite, Gold Of Hours takes on the shape of traditional form, and only to transform into reconfigured constructs of extended tonality and rhythm. The word text is taken and reworked from ancient aphorisms depicting early creation, and the balance of nature, the law in principles, discovered and written about by investigative minds throughout the ages.

The music here is written for thirteen players and six singers. The traditional chamber model of past is established in sound. However, some new techniques in approach bring into the fold the very and the varied, fusing styles and methods over many time periods, only to transcend them all together.

The first part of the program entitled “Into The Realms” draws on traditional suite form, with a reordering of sequences,and integrating variable meter counts. There are seven pieces with a reprise as eight. Each piece takes on a contrasting mood from the other. allowing the orchestra and the chorus (working in ensemble), to shift gears in the musical spheres given.

The second part entitled “Correspondences” delves into a series of tone rows, continually morphing into and out of each other, with rhythmic densities reaching climaxes only to disappear, and resurface again with new intent. There are five pieces here with the fifth being a reprise of the first.

The second, third, and fourth use the tone rows to explore the meaning of the text in constant transformation.