The Journal is an opportunity for all of us at DRDH to record, reflect or comment on things we have seen or thought about, from across architecture, art and culture, from the past or the present. It is a repository for places we have been and an archive for the extended processes of research, development and construction that underpin the making of buildings. Our intention is that it will range freely from the pictorial and the playful to the poetic and profound, although the latter might not necessarily come from us. It will, we hope, grow to offer a rich and expanding resource of material and connections – the collective memory of the practice.
Jennifer Beynon Martinec (co-artistic directors/conductores, The Atlantic Boychoir)
Jennifer Beynon- Martinec B. Mus., B. Mus. Ed., M. Mus., is a . candidate in Music, Medicine and Education at Memorial University. She is a voice and music education graduate from the University of British Columbia and the University of Western of Ontario.
Jennifer has been a choral conductor and vocal pedagogue for over fifteen years in both Canada and Europe; having worked with prestigious organizations such as: St. Michael’s Choir School in Toronto, Ontario, the Amabile Boys Choir, the Bach Children’s Choir, and the prize-winning Czech Boys Choir. Jennifer was awarded the Don Wright Scholarship for Vocal Music (UWO, 2001), the Lloyd Bradshaw Scholarship in Choral Conducting (UofT, 2003) and most recently the Joseph-Armand Bombardier Canada Graduate Scholarship (SSHRC, 2016).
Currently, Jennifer is the artistic director of the AVE Girls Choir in collaboration with the Graham Academy, co-artistic director of the Atlantic Boychoir and a per-course instructor at Memorial University. Jennifer enjoys being active in the St. John’s community with her three children and husband, Jakub Martinec.
The Fifth is still a contested space, in terms of how it's played, how it's thought of, and even in terms of its text (another other things, a debate rages to this day about whether the repeat of the scherzo should be observed or not). Its familiarity is a sign not of its exhaustion, but of its endless potential for renewal. All we have to do is keep thinking, keep listening, and keep alive the possibility to be stunned by this symphony, whether you hear it as a metaphysical progress (listen to Wilhelm Furtwängler ) or a blood-and-thunder protest ( John Eliot Gardiner ). Simultaneously, miraculously, it's all that - and more.