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Volume 11 Issue 2 - October 2005

  • Text
  • Toronto
  • Choir
  • October
  • Concerts
  • Theatre
  • Jazz
  • Musical
  • Singers
  • Orchestra
  • Arts

200512006 Davi d Hetherington, cello Patrici a Parr, piano Joaquin Valdepefias, clarinet FOUR FABULOUS FRIDAYS! November 4, March 3, April 21, May 12 I I I I : 1', I "Masters of all they would play•• Globe and Mail SUPERB CHAMBER MUSIC! Mozart, Brahms, Czerny, Dvorak, Hetu (premiere), Morawetz and more E~CITIIVG ~LJEST A~TISTSI LESLIE KINTON ANDRE LAPLANTE BARBARA HANNIGAN iDA KAVAFIAN PIANO PIANO SOPRANO VIOLIN !:::» I.J E3 S. C::: IF::.t. I E3 E: ....... C> 'VV ! 4-1 6--368--874-3 FOUR CONCERT SER IE S -REGULAR- 2, SENIORS- , STUDENTS- PLEASE NOTE THE REDUCED SUBSCRIPTION PRICE FOR SENIORSI GLENN GOULD STUDIO, 250 FRONT STREET WEST - 8:00PM www.amiciensemble.com Toronto Organ Club~! 2005/2006 CONCE~~ i Monday September 26 Cole Holland Monday October 24 George Heldt I Monday November 28 Frank lac ino "t: Monday January 30 Colin Cousins Monday February 27 Phil LaPenna Monday March 27 Festival of Music (World Vision Tanzanian Aids Relief concert) Saturday Apri l 29 Organ Grinder Night (Don Malcolm and George Heldt ) Monday May 29 Melanie Barney : All concerts start at s,oo p. ni . , SI. James United Church, 400 Burnhamthorpe Road, E. (free parking behind the church) : Adult - .00 - payable at the door (includes concert and relreshments). Children under 10 are free. For more information: 905-845-4539 or 905-824-4667 email: aekls@cogeco.ca web: www.toorganclub.com Bring this ad in and receive 011 Admission tor each person in your group. Exp. Oct. 25/2005 ~------------------------------------------------- Michael J. Ierullo Concert Tuner I Technician Sales - Service - Tuning - Restoration Serving Toronto 's Major Concert & Jazz Venues Tel: 416-889-8667 I Fax: 866-711-3165 I E-mail: pianomd@sympatico.ca 18 WWW, THEWHOLENOTE.COM Back to Ad Index .....__.,,....,..,.,,._ _ _ ..;.. 1 ;;;:- , ., Inside the Mike Lazaridis Theatre of Ideas at the Perimeter Institute (Waterloo) EVERY SEASON AT THIS TIME, l skim through the page proofs of the Profiles in the Blue Pages in our October magazine, and am left amazed by the story they tell -- of a visionary core of people, musicians and music-lovers alike, in Southern Ontario, for whom music-making is the central focus of their lives. There are 167 member profiles in this year's Blue Book, 19 more than last year, an impressive number. But collectively they make an impact much greater than mere numbers can tell. The blue book profiles speak to the creativity that has taken root among us. This is not to say that sheer numbers don't mean anything. Just think. What if every WholeNote reader was sufficiently inspired by something they read in this issue to go to one additional concert every month? It would mean an increase in attendance of about 110,000 people a month. And if every WholeNote reader undertook to introduce just one person a year to WholeNote, what would that do for our burgeoning musical life? The genius of our part of the world lies, at least in part, in its musicians, including the legions of choral singers whose voices compose the many choirs profiled here. All these people are making Southern Ontario a very special place. We can live life more fully in a way that is uniquely ours by exploring the amazing variety of music that is waiting to be heard. That having been said, I wanted to look back for a moment rather than ahead -- to share my experience last summer of a concert at the Ottawa International Chamber Music Festival. The concert was the Borodin String Quartet's first performance (of four or five) at the Festival in July. The program that night was the first three string quartets by Shostakovich. Words are inadequate to express what we in the audience all shared that evening, but some, like "mesmerizing," "magical" or "bewitching" come to mind. As the last chord of the Second Quartet (the last on the program) died away, there was a long pause before the standing ovation began, as if no one there wanted to break the spell. To put it simply, we experienced the power of music that night in a way that is all too rare. What is that "magic"? Perhaps something I heard Joe Sealey say tonight during his radio program provides a clue: words to the effect that jazz musicians need to project something of themselves in their playing, and that it is this quality or ability that makes all the difference, that makes a musician worth listening to or not. Is the same true of classical musicians? I love going to hear music played, but have to admit that I really feel a lot more nourished sometimes by the experience than at other times. What is it that makes the difference? While it is probably true that this depends to a large extent on the performer, it is also worth considering the role of the listener. I have the impression that this "magic" lies in the rapport between performer(s) and audience, in which the first step has to be taken by the performer but the second by the listener's active attention. (This, of course, does raise an interesting question about those times when that "magic" isn't there for me: can I as a listener listen better, listen for what the perform- O CTO BER 1 - N O VEMBER 7 2005

er is trying to say, trying to bring to the performance? So many of us are both performers and I isteners at different times, and in both roles have something to contribute to the process of bringing sound to life and life to sound.) Perimeter Institute Reading through the " further afield" listings (page 46) I came across two concerts presented by something called the Perimeter Institute in Waterloo. The concerts are pianist, Ursula Oppens on October 7 and the Penderecki String Quartet on October 15. The concerts themselves are to take place in a venue new to me with the intriguing name, "Mike Lazaridis Theatre ofldeas." Of course I was curious and looked for the Perimeter Institute's website. I was amazed by what I found. The institute's full name is the Perimeter Institute for Theoretical Physics, and is the creation of Mike Lazaridis, the founder and co-CEO of Research in Motion (RIM), the developer of the "Blackberry" and other high tech products. It is a world-class institute that sustains resident scientists and hundreds of international visitors every year, who "use imagination and mathematics to push the limits of our current understanding ... [of] the ultimate nature of space, time and matter." The focus of this research, according to the Perimeter website is "quantum gravity" ... to combine into one unified picture the two most important achievements of 20th century physics-the quantum theory, and Albert Einstein's theory of space, time and gravity. While these powerful theories dramatically pushed back the boundaries of our understanding and forced us to think in completely new ways about the universe in which we live, they are not compatible with each other. Success at combining them together could yield the deepest insights physicists have ever achieved into the nature of our universe. Another pivotal mandate of the institute is education and outreach in the form of lectures, workshops and school presentations . These two areas of activity are complemented by a program of cultural events which this season includes a series of thirteen really interesting concerts. To learn more about this fascinating undertaking visit www.perimeterinstitute.ca. Orchestras A previously unknown aria by Johann Sebastian Bach discovered in an old shoebox among documents taken from the Duchess Anna Amalia Library in Weimar while the building was undergoing renovations, will have its North American premiere in Toronto on October 15 in a performance by Sinfonia Toronto and conductor Nurhan Arman, with Canadian soprano Aline Kutan. This will be the first orchestral performance of the work since its premiere under Bach's direction on October 30, 1713 . The work, the aria Everything with God and Nothing without Him, was written to celebrate the 52nd birthday of Duke Wilhelm Ernst of Saxony-Weimar, whom Bach served as a court organist. According to Nurhan Arman it conveys "a sense of calm, tranquility and timelessness .. .. " Happily, this concert occurs several days after the Bach Festival has ended, so there will be no scheduling conflicts. The Toronto Symphony Orchestra will host two of the great soloists of our time, pianist Evgeny Kissin on October 5 and 7, conducted by Sir Andrew Davis, and violinist Nadja Salerno-Sonnenberg on October 14 and 15. On October 21 the TSO will present a concert by the National Arts Centre Orchestra. For as long as I can remember the TSO has never had concerts on Friday nights because of their agreement with Roy Thomson Hall. This appears to have changed, since October 7, 14 and 21 are all Fridays. The Toronto Philharmonia's October 8 program includes Four Ancient Scores from Dunghuang by the Chinese composer, Huang Anlun, whose music has been premiered by the Beijing Symphony Orchestra. Another fascinating concert will be on October 11, when New York composer, Jim SINFONIA TORONTO TO GIVE FIRST PERFORMANCE OF A NEWLY DISCOVERED BACH ARIA A previously unknown aria by Johann Sebasian Bach, discovered last May in Weimar, Germany, will receive its North American premiere in Toronto on October 15. The occasion will also mark the first orchestral performance of the work since October 30, 1713. The aria "Everything with God and Nothing without Him," was found in an old shoebox after a 292-year long hibernation. Renowned soprano Aline Kutan will sing the aria with Sinfonia Toronto. The concert will also feature pianist Robert Silverman in Mozart's Piano Concerto No. 14, and Nurhan Arman's orchestral arrangement of Dvorak's 'American' Quartet. Saturday, October 15, 8 pm , 32, 40 Grace Church-on-the-Hill 300 Lonsdale Road Tickets are on sale at sinfoniatoronto.com or call 416 .499. 0403 Papoulis conducts a program which includes his own work History's Doorstep, music which will be "made visible" by a group of eurythmists at the Toronto Centre for the Arts main stage theatre. As always, there are many , many concerts in October and early November. A careful reading of the listings will reveal something for everybody! A Toronto (if i) Chikken's •,• Chorus Jean Ashworth Bartle, C.M., a.Ont, Founder/Music Director 2005-2006 Season The Toronto Children's Chorus presents a season of exceptional choral artistry' Ghosts, Goblins and Things That Go Bump in the Night! Sunday, October 30, 2005, 4 00 p.m. Timothy Eaton Memorial Church Songs of Hope and Inspiration Saturday, November 5, 2005, 300 p.m. Metropolitan United Church Featuring guests Stephen Hatfield, Guest Conductor. Peterborough Children's Chorus and Maureen Harris-Lowe, Conductor. A Chorus Christmas Saturday, December 17, 2005, 2:00 p.m. Roy Thomson Hal I World Premiere ''The Darkest Midnight in December" by Kelly Marie Murphy Rhymes and Rounds Sunday, February 26, 2006, 4:00 p.m. Timothy Eaton Memorial Church Fugues, Fleas and Fantasies Saturday, May 6, 2006, 7:30 p.m. Tor onto Centre for the Arts Tour Send-off Concert Thursday, July 6, 2006, 730 p.m. Glenn Gould Studio Special season subscription rates available www.torontochildrenschorus.com 416-932-8666 Ext. 231 Single concert tickets: - O CTO BE R 1 - N OVEMBER 7 2005 Back to Ad Index WWW. THEWHOLENOTE.COM 19

Volumes 21-25 (2015-2019)

Volume 25 Issue 4 - December 2019 / January 2020
Volume 25 Issue 2 - October 2019
Volume 25 Issue 1 - September 2019
Volume 24 Issue 8 - May 2019
Volume 24 Issue 7 - April 2019
Volume 24 Issue 6 - March 2019
Volume 24 Issue 5 - February 2019
Volume 24 Issue 4 - December 2018 / January 2019
Volume 24 Issue 3 - November 2018
Volume 24 Issue 2 - October 2018
Volume 24 Issue 1 - September 2018
Volume 23 Issue 9 - June / July / August 2018
Volume 23 Issue 8 - May 2018
Volume 23 Issue 7 - April 2018
Volume 23 Issue 6 - March 2018
Volume 23 Issue 4 - December 2017 / January 2018
Volume 23 Issue 3 - November 2017
Volume 23 Issue 2 - October 2017
Volume 23 Issue 1 - September 2017
Volume 22 Issue 9 - Summer 2017
Volume 22 Issue 8 - May 2017
Volume 22 Issue 7 - April 2017
Volume 22 Issue 6 - March 2017
Volume 22 Issue 5 - February 2017
Volume 22 Issue 4 - December 2016/January 2017
Volume 22 Issue 2 - October 2016
Volume 22 Issue 1 - September 2016
Volume 21 Issue 9 - Summer 2016
Volume 21 Issue 8 - May 2016
Volume 21 Issue 6 - March 2016
Volume 21 Issue 5 - February 2016
Volume 21 Issue 4 - December 2015/January 2016
Volume 21 Issue 3 - November 2015
Volume 21 Issue 2 - October 2015
Volume 21 Issue 1 - September 2015

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