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Volume 10 Issue 4 - December 2004

  • Text
  • Toronto
  • December
  • Theatre
  • January
  • Jazz
  • Ensemble
  • Symphony
  • Choir
  • Musical
  • February

... srl.lpshot: mario

... srl.lpshot: mario labbe Music Library, Archambault.Zik, Pure Track, I Tune. I think music lovers will always want to buy music. but in the future there will no longer be a unique way to access the music 1hey want to hear. In that view Analekta tries to follow the tendency of the market very closely. (Analekta is distributed in 1he following countries: Canada. USA. Mexico, Australia, New Zealand. Japan. Korea. Hong Kong, China. United Kingdom. France, Germany, Belgium, Switzerland, Spain, Portugal, Italy.) Come cek6rate tlie !Jlo{itfag Season at tlie 'TCft! . * Viennese Holiday . December 12th r 3:00pm * Nathaniel Dett Chorale An Indigo Christmas December 15th & 17th 8:00pm Toronto Philharmonia Sounds of the Season December 16th 8:00pm The Amadeus Choir "Carols and Lullabies" December 18th .. 7:30pm , * 9-Cappy 9-lo[Ufays! Toronto Centre for the Arts 5040 Yonge St. www.tocentre.com For tickets call (416) 872-1111 or visit www.tlcketmaster.ca A few follow-up questions 1. In moving from impresario to establishing a record label, I imagine there must have been some key 1/1ings thac persuaded you it was a viable move - not just waking up one moming and saying I think I'll do records instead. " Can you pinpoim something? 2. I understand your poim about the quality recording as an indispensable calling-card for the musician, and also your point about how such musicians become culrurai ambassadors, and rherefore one would expect governments that support the arts to support such endeavours. I'm curious as to your perspective on this question; comparing Quebec to the rest of Canada, and Canada overall to other countries. 3. (Fi11ally) I'm imerested in your decisio11-making process in terms of who you take 011 as artists, and areas of repertoire to explore. You were imo early music from the start/or example, and I notice a recent foray into jau. Two incidents triggered my decision to establish a record label: ln 1987, I approached a major label, trying to get a world recording contract for Angele Dubeau. She was just ready to sign and do her first recording. I negotiated for over a year. But a new president came into function in this major label, and declared they would no longer sign 'regional' artists: if you don't live in New York, London or Paris, you are out. I said to Angele, "Don't worry, we will do the recording anyway". So we licensed it to another major label. I was on good Lerms with recording companies, as l was bringing major attractions and musicians' contracts to all of them. I went and recorded her first disc, Sonates franaises. I tried to license it, along with two other masters: the first one was a digital recording of The Red Army Chorus (a live recording of the five performances of the ensemble I was presenting at the Orpheum Theatre in Vancouver); the other one was the soundtrack of the movie, Le Maftre de Musique, starring Jose van Dam. But none of these three masters triggered enough interest with these recording companies. That's when I realized that Canada really needed a recording company specializing in classical music. So, foolishly, I founded Analekta without knowing what I was do· ing ...!A year later I had sold over 110,000 copies of the abovementioned recordings. That's all how it started! Government support in the Canadian cultural industry is ari absolute need. The music industry - much like the TV or film industries - requires the government's assistance to develop and promote our Canadian heritage on the international level. The support of our industry is no bigger. or less big, than most of industrialized European countries. The decision-making process is simple: we choose musicians who combine outstanding talent, exquisite musicianship and a compelling sLage presence - the finest Canadian artists! It is a privilege when such high-calibre artists are willing to embark on a recording venture with us! The repertoire depe"1S on what the artists are willing to record. If they feel inspired. it will be a good recording, and that's why I like to have their input. But we always try to bring something new 10 the classical repertoire. • . . . 4 - EBRUARY

EDITOR'S CORNER by David Olds Last month due lO space constraints we had lO omit lhe chatt) introduction in which I welcomed John Beckwith back to the fold after a yearlong hiatus. and I'm pleased to say that he has contributed again this month with a review of his colleague John Burke's new Centrediscs release. I also noted that one reviewer whose voice is too seldom heard in these pages is baroque specialist Alison Melville. As director of Baroque Music Beside the Grange and a virtuoso baroque flute and recorder player, Alison is such an active member of the international early music scene that it is hard 10 find recordings in the field where she does not feel some conflict of inlcrest. Fortunately we were able to find one again this month n:­ leased by the German recorder ensemble Trio Viaggio. In this issue we also welcome a new voice to the DISCoveries pages, jazz musician and WholeNote intern Eli Eisenberg. whose eclectic tastes introduce us to new relt:ases by Toronto violinist Lenny Solomon and the Montreal fusion group S Mos Quimet. Following her success in Christos Halzis' Constantinople which enjoyed four sold out performances at Harbourfront last month. Maryem Tollar·s new CD "Book of Lile" is reviewed by Whole­ Note's World Music columnist Karen Ages. Our other World Music specialist. Annelle Sanger. turns her ears to the Evergreen Club's new Naxos CD "Sunda Song" and our very own "Santa's liule helper", Sarah Hood, gives us a rundown on a new crop of discs for the holiday the season. We also have n:views of seasonal offerings from Phil Ehrensaft (A Hanukka Celebration) and WholeNote publisher Allan Pulkcr (the Elmer lseler Singers Puer natus in Bethlehem). Mr. Pulker first expressed an imerest in reviewing this CD shortly after it arrived last December just a week 100 late for inclusion in last year's Christmas edition. When he renewed his bid again last month I knew that this disc must have deeply moved him (and also realized that it's always a good idea to humour the boss) so I readily agret:d to the assignment. As always you will find diverse and eclectic offerings in the following pages. My O\ n listening this month was commandeered by the recent release of Mendelssohn's Chamber Music - Complete (Brilliant Classics 99983). Once again the Brilliant label has impressed me with its thoroughness. standard or exct:llcnce and value. I came across the release somewhat inadvertently while scarch111g for repertoire for my own chamber ensemble. On a visit to the Metro Reference Library I discovert.!d that Felix Mendelssohn had composed three piano quartets in his youth (Opp. 1- 3) and I subsequently went in search of rt:cordings. The only ones currently available feature the fabulous Schubert Ensemble of London (whom I'd had the pleas· ure of interviewing during my tenure at CJRT-FM) and an: only to be had as pan of a I 0 CD set. Fortunately when dealing with Brilliant Classics you can get 10·cDs for about the same price as 3 discs on any other major label. The set includes Mcndelssohn's string quartets, quintets and octet. piano trios, quartets and sextet. along with the sonatas for viol111. viola, cello and clarinet and several other miscellaneous chamber works. Brilliant has compiled earlier recordings of performances by the Banok Quartet, cellist Claude Starck with pianist Christophe Eschenbach, violist Ulrich Koch, clarinetist Rainer Schumacher and pianist Ronald Keller with recent performances by the Schubert Ensemble and new recordings featuring the Sharon Quanet, violist Petra Vahle, violinist Joan Berkhemer and pianist Kyoko Hashimoto. Three weeks after the purchase I'm still listening. and still enthralled! CONTINUES NC)(T PACE [December I January Highlights University of Toronto Symphonic Band Wednesday, December I - 8 pm. MacMillan Theatre.$ 13 () Grepy Burton. director. Music by Gra1nr. Holst. Copbnd and others Vocal Jazz Ensemble Friday, December 3 • 8 pm. Walter Hall. () uu Marunell director "Christmas Gahu" Choral Concert Saturday, December 4 • 8 pm. MacMillan Theatre. () Aro Afro-centm; evening of singing. dancing ;ind drumming World Music Ensembles Monday, December 6. 12: I 0 pm· MacMiiian Theatre. FREE Fe;ituring ppanese taiko ensemble. Chinese tndltional music ensemble :and Afnan drumming and dancing ensemble University of Toronto Guitar Ensemble Monday, December 6 • 8 pm. Walter Hall. FREE Jeffrey Mcfadden. director University of Toronto Symphony Orchestra Wednesday, Dec:ember 8 • 8 pm. MacMillan Theatre. () Scott St. John and Shauna Rolston perform Brihms Double Concer10. conducted by 1Uff1 Armenian. With Schube1 t Rosomunde Overwre and BeethOYen Symphony No. J ·•frolcaH Nexus Percussion Ensemble Friday, December I 0 • 8 pm • Walter Hall. ($I I) Canada's IOcvt7 or Mus•t • UnM!f11ty of Toronto Edw>rd JOhnsO 8uoldHIJ. 80 Q.,.•n's Park Ml>>•um •ut>wor stop www.music.utoronto.ca DECEMRER 1 2004 · f£8RUAKY 7 2005 WWW, THEWHOlENOTE.COM 13

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