Canadian percussionist Beverley Johnston just released a new album of music titled Finding Her Voice.
The album recently released on Navona Records on April 24th, 2026, and features the work of composers Julie Spencer, Christos Hatzis, Samuel Kerr, Frederic Rzewski, David Jaeger, and Johnston herself.
Johnston’s pieces are structured improvisations which frame tracks that explore the identities of women from history. Together, the album presents a search for the voices of women throughout time.
Beverley Johnston
A native of Montréal, Beverley Johnston began her formal training at Vanier College, followed by studies with Russell Hartenberger at the University of Toronto. She later became an instructor at the UofT.
She went on to establish an international reputation for her percussion and marimba performances, which combine a dynamic sense of theatricality along with technical virtuosity. Beverley performs frequently as both a soloist and chamber musician, and has recorded and contributed to several albums.
A passionate proponent of new music, Beverley has commissioned and performed many works by Canadian composer, and was named a Canadian Music Centre Ambassador in recognition of her influence. In 2024 she was appointed an Officer of the Order of Canada (O.C.) and was also inducted into the Percussive Arts Society Hall of Fame. She also received The Toronto Musicians’ Association Lifetime Achievement Award, and in 2025 she was awarded the Oskar Morawetz Award for Excellence in Music Performance.
Beverley maintains a busy performing calendar, and can be seen at percussion festivals across North American, Europe, and Asia.
LV caught up to Beverley Johnston ask her a few questions.
Beverley Johnston: Q&A
LV: To back up to the beginning, how/when did you know that percussion would be your instrument? Was it an early interest, as a child?
BJ: I was born in a suburb in Montreal, Quebec called Lachine. I was so fortunate to have a great musician as a music teacher in high school named Iwan Edwards. He was one of the best known choir directors in the country. In one of the music classes when I was in grade 7, all the instruments were demonstrated and it did not take much to convince me that percussion was the most interesting! It was easy to make an immediate sound and the variety of instruments from drums to keyboard percussion was SO appealing to me. Also, I had previous piano experience so playing keyboard percussion instruments is somewhat related to the piano.
LV: How did you come up with the idea of celebrating women, past, present, and mythological, through music written for percussion? Was there a specific sort of catalyst?
BJ: There was definitely a catalyst that got me started with this idea. Canadian composer Alice Ping Yee Ho wrote me my first piece dealing with iconic female figures. When I was at her home she asked me if I’ve ever heard of the book ‘Women who Run with the Wolves’ by Clarissa Pinkola Estés. It was serendipitous that I had already read the book and I LOVED it! So Alice based her first solo work for me on Baba Yaga, a female figure from Slavic folklore, who represents the ‘wild woman’ archetype. I have since recorded 2 pieces by Alice on the celebration of women theme. The other piece by her is about Yoko Ono called ‘Witch on Thin Ice’. So amidst these 2 works I’ve been investigating other iconic female figures, some of which are represented on my latest recording called ‘Finding Her Voice’.
LV: How did you come to choose these specific pieces for the album, given the theme?
BJ: Creating this album required a series of thoughtful decisions. I chose to record several preexisting works I had commissioned that honour a range of powerful female figures: Hildegard of Bingen — one of the earliest known female composers; Norma Beecroft — an iconic Canadian creator of both electronic and acoustic music and co-founder of Toronto’s New Music Concerts; Mother Earth (Gaia); poet Sara Teasdale; and Eris, the goddess of strife and discord.
I also included a beautiful chorale by a former percussion student of mine, Samuel Kerr, featuring the voice of renowned Canadian actor Kenneth Welsh in a moving interpretation of Robert Frost’s poem Reluctance. This piece allowed me to showcase one of my favourite keyboard percussion instruments—the marimba, an instrument that shaped much of my career and through which I sought, and often found, my own voice.
Two of the works on the album are improvised, reflecting another essential part of my artistic journey. Improvisation has long been a meaningful way for me to explore sound and identity. Throughout my career, I’ve been fortunate to collaborate with extraordinary composers who have helped bring these explorations to life. On this recording, they include Julie Spencer, Christos Hatzis, Samuel Kerr, and David Jaeger.
I’ve also included a rendition of Frederic Rzewski’s iconic To the Earth (for flower pots and voice), written for Buffalo percussionist Jan Williams in 1985.
Ultimately, this album is not intended as a display of technical virtuosity. Instead, it is a reflection of the emotions, discoveries, and resonances that have shaped my Finding Her Voice journey.
LV: You are a pioneering artist in the field of percussion, and there are still relatively few women who approach it. Is there anything that you would say, advice or otherwise, to young women musicians who might be thinking of a career as a percussionist? Is there something you think women bring to the table in particular?
BJ: Yes, I suppose I am a pioneer? Although soon after I chose percussion there were definitely a few mentors out there that I admired. One was Karen Ervin-Purshing (from the 1970s who was a great keyboard percussionist but also played multi-percussion pieces), Ruth Underwood (Frank Zappa’s keyboard percussionist) and Karen Carpenter (drummer and singer with her duo ’The Carpenters’). There have since been MANY more women performers who have knocked my socks off! Just recently I’ve been enjoying the playing of the latest addition to the rock group ‘Rush’….Anika Nilles!
And of course in the classical percussion world the list is TOO large to mention here but it’s so great for me to see that we’ve gone beyond the feeling that being a female percussionist/drummer is an oddity!
If there is any advice to young women musicians it would be to follow your own voice. Having said that, it’s still important for every musician (whatever gender) to master your skills properly which will, in turn, help you express yourself in whatever style of music you prefer! I don’t think there is anything different that women would bring to the table in particular, as a percussionist. Having said that, I feel it is important for the world to be open enough to accept many different styles that may differ from those established in more patriarchal societies from the past. I’ve heard so many different and effective styles of playing from every gender these days and I’m still learning from that…I’m also learning from my own students!!!
The Record
Johnston performs as both percussionist and occasional vocalist on the album. The tracks include:
- Julie Spencer: Angels in Arches of Hildegard’s Bingen pays tribute to the visionary abbess and polymath Hildegard von Bingen;
- Christos Hatzis: Eris revolves around mythic goddesses who represent wisdom, love, and power;
- Samuel Kerr: November combines marimba and Robert Frost’s poetry;
- Frederic Rzewski: To the Earth considers Mother Earth as an undying feminine presence;
- J David Jaeger: Lyrics II pays tribute to Canadian composer Norma Beecroft;
- Beverley Johnston: The Crystal Gazer accompanies poetry by Sara Teasdale.
Find Beverley Johnston’s Finding Her Voice on Navona Records [HERE].
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