After this last of the Hannaford concerts, a few of us, all involvedin music, adjourned to a local restaurant. There the conversationfound its way around to what might be termed the etiquette and decorumof the rehearsal. The number one pet peeve of all present wastalking during rehearsal. This was closely followed by foot tapping,especially when out of synch with the conductor, and chewing gum.Also scoring high marks for slowing the progress of a rehearsal isthe individual whose music is chronically out of order. The entiregroup must sit on their hands and wait.High on my personal list of unacceptable rehearsal conduct is thatof members answering questions directed to the conductor. Theseindividuals seem to presume that they are better qualified than theconductor to answer another member’s question. In one instance inmy experience, I had no fewer than five such responses to my questionwhich drowned out the answer of the conductor. Since sarcasmis one service I am wont to provide with little provocation, I respondedwith. “In case you hadn’t noticed, my question was directedto the director of music; I would like to be able to hear his response.”Needless to say that was not well received by my selfappointedbenefactors.So much for rehearsal conduct; what about the decorum of performerswhile on stage? One of my most vivid recollections is of aperformance at the old grandstand at the CNE. All of us were appropriatelyattired in our black “gig suits” and white shirts. Alas, onemember, clearly visible from the audience, had decided that brightorange socks would be just fine. Others in the group had a differentopinion.I am a firm believer that people listen with their eyes as well astheir ears. Visual distractions can colour one’s perceptions of a performancequite significantly. Whether it’s the facial expressions ofthe soprano, awaiting her entry, grimacing with every change inmood of the work, or of the tenor badly in need of a new vest, havingoutgrown the old one. At a recent Easter season performance ofa major choral work which I attended, all soloists were providedwith bottles of water which they consumed periodically during theperformance. In my mind, if they are going to so blatantly advertiseone particular brand of bottled water, perhaps they should ask thebottler to act as a sponsor in return for their strong testimonial. Onseeing one or more soloists tipping up bottles during more solemnmoments, I half expected a commercial announcement stating “thiscrucifixion is sponsored by the ABC water company.”Andrew Chung, ConductorSymphonicSketchesSunday, June 7, 20092:30 p.m.Church of St. Mary Magdalene477 Manning St., TorontoTickets: Seniors/StudentsFree for Children 12 and underTickets available at the DoorFor me, the crowning distractionduring a concert performancetook place about a year ago. Inthe midst of a major number onthe programme, a member of thegroup sitting in front of mepicked up a cell phone and begantext-messaging while on stageduring a performance. It’s truethat he had a few bars rest, but itwasn’t easy for those of behindthe culprit to remain focused onthe music we were playing.Coming Events - Please see thelistings section for full detailsSunday, May 3, 10:45 am, theMetropolitan Silver Band 75thAnniversaryFriday, May 8, 8:00 pm, theEtobicoke Community ConcertBand, ConcertSaturday, May 9, 7:30 pm, theNorthdale Concert Band, ConcertPlease write to us:bandstand@thewholenote.comBEAT BY BEAT: ON OPERAby Christopher HoileBeyond the shadow of a doubtThe undoubted operatic highlight of May is the world premiere ofthe The Shadow by Omar Daniel to a libretto by Alex Poch-Goldin.The work is presented by Tapestry New Opera Works and featuresbaritone Theodore Baerg, counter-tenorScott Belluz, soprano Carla Huhtanen, tenorKeith Klassen and baritone PeterMcGillivray.The story concerns Raoul (McGillivray) asimple mailman who fantasizes aboutmarrying the beautiful Allegra (Huhtanen), thedaughter of a wealthy gentleman on his route.In his daydreams, he becomes “Hernando,” adashing figure of the night, who tells Allegrathat he is a wealthy merchant. With “help”from the local Don (Baerg), Raoul succeedsin his transformation and successfully woosthe beautiful Allegra. But when Raoul can’tpayback the Don, the mysterious Shadow(Belluz) begins to follow him. The theme ofliving beyond one’s means on borrowedmoney could hardly be more relevant.Via e-mail correspondence the composerand librettist helped shed light on thegenesis and nature of the project. Wellknownactor and playwright Poch-Goldinwrote the original story inspired by an articlehe read about the Mafia in turn-of-thecentury Barcelona.Alex Poch-Goldin (above)& Omar Daniel“For those who owed money to the Mafia,” explains Poch-Goldin,“instead of sending someone out to break your legs, theywould send out a ‘Shadow’ to find you. The Shadow wouldsuddenly appear, dressed handsomely in tails and a top hat, anddeclare to anyone in the street that you owed money, had welchedon your payment and were a worthless person because of it. TheShadow would declare you publicly untrustworthy and destroy yourreputation. He would follow you around, hounding you until youTORONTO’S PREMIERE MUSICAL THEATRE presentsA MUSICAL ABOUT MUSICALSand the backstage story of A CHORUS LINEFAIRVIEW LIBRARY THEATRE35 Fairview Mall Dr., Sheppard/Don Mills.May 27 to June 13 TICKETS to .5020 WWW.THEWHOLENOTE.COMMAY 1 – JUNE 7 2009
epaid the debt. The humiliation would grow so intense that youwould do anything to pay it back. It sounded pretty horrific. Ithought throw in a little romance, some betrayal and a bit of greedand it would make great opera.”Poch-Goldin’s story is rich in implications. At work in Barcelonaat the time was fantastic Art Nouveau architect Antonio Gaudí(1852-1926), whose buildings both incorporate animal-like structureand seem to be caught in the midst of dissolving. Poch-Goldin saysthat this weirdness seems to reflect Raoul’s state of mind. The storyalso plays with duplicity both real and metaphorical. The “Shadow”as a concept has strong links to Jungian psychology, as the darkside of the self. He is “the person who we wish to be, that resideswithin us, slipping out and wreaking havoc, the dream destroyingthe waking life. And while the Shadow is an actual figure in the operato me, there is a case to be made that he is a figment of Raoul’simagination.”To capture these ideas, Daniel, Associate Professor of music theoryand composition at the University of Western Ontario, says thathe wanted to create an “expressionistic musical world,” one that depictsthe world as viewed or distorted by the mind of an individual.Daniel says that he took his favourite opera, Alban Berg’s Wozzeck(1925), as his model. He notes, “I wanted to avoid what I considera pitfall of modern opera: endless speech-like vocal lines. I was determinedto create real ‘songs’ for the performers, along with recitativesto advance the plot.”Daniel credits the idea for using a counter-tenor to play theShadow to conductor Wayne Strongman and director Tom Diamond.There is a “subliminal” influenceof Spanish music appropriate tothe setting, but, “overall there isan ornate, somewhat baroqueenergy, along with rich andcomplex harmonies that characterizethe musical language(reflective of Gaudianarchitecture).” At the same time,he “wanted to temper the dense,complex nature of Expressionismwith representations of the worldoutside the characters” withmusical forms (e.g., the bolero)more familiar to the listener.Though it is a chamber opera,Daniel wanted “as muchinstrumental colour and pitch rangeas possible.” The orchestra iscomposed of trumpet, violin, cello,clarinet, bass clarinet, piano, organand “lots of percussion notnecessarily for volume, but forcolour.” Performances take place atthe Berkeley Street TheatreDownstairs from May 21-30.Phone 416-368-3110 for tickets orvisit www.tapestrynewopera.com.Meanwhile, we should notethat from May 5 to 23 the COCis presenting its first mainstageproduction of Britten’s AMidsummer Night’s Dream(1960). Also, Opera by Request,www. operabyrequest.ca), theonly Toronto company where thesingers choose the repertoire, willpresent concert versions of tworarities: Mozart’s La Clemenza diTito (1791) on May 23 andBellini’s I Capuleti e i Montecchi(1830) on May 27, bothconducted by William Shookhoffat College Street United Church.ALL THE KING’S VOICES 17AMADEUS CHOIR 44AMICI 11,27AMOROSO 44ART OF TIME ENSEMBLE 32ASSOCIATES OF THE TSO 32ATMA 5BACH CHILDREN’S CHORUS 26BLOOR CINEMA 54BLUE BRIDGE FESTIVAL 37CANADIAN CHILDREN’S OPERA COMPANY 7,43CANADIAN OPERA COMPANY 12CANCLONE SERVICES 47CATHEDRAL BLUFFS SYMPHONY ORCHESTRA 34CHRIST CHURCH DEER PARK JAZZ VESPERS 17CHRISTINA PETROWSKA QUILICO 28CHURCH OF ST. MARY MAGDALENE 35CHURCH OF ST. STEPHEN (DOWNSVIEW) 34CIVIC LIGHT OPERA 21CLASSICAL 96.3FM 55COSMO MUSIC 19COUNTERPOINT COMMUNITY ORCHESTRA 34DIANA MACINTOSH 29DUANE ANDREWS 24EARWITNESS PRODUCTIONS 34EAST YORK CHOIR 37ELMER ISELER SINGERS 24ENSEMBLE TRYPTYCH 33ETOBICOKE YOUTH CHOIR 45EXULTATE SINGERS 29FIRST UNITARIAN CONGREGATION 37GALLERY PLAYERS OF NIAGARA 51 INDEX OF ADVERTISERSGEORG HEINL 16HAMILTON CHILDREN’S CHOIR 42HARKNETT MUSICAL SERVICES 19HARMONY SINGERS 33HELICONIAN HALL 45HIGH PARK CHOIRS 31JUBILATE SINGERS 36,41KINDRED SPIRITS ORCHESTRA 43LONG & MCQUADE 19MASON AND HAMLIN 11MONTREAL BAROQUE FESTIVAL 10MUSIC AT SHARON 16MUSICA ST. JAMES 39MUSIC GALLERY 33MUSIC ON THE HILL 28MUSIC TORONTO 9NATHANIEL DETT CHORALE 7NATIONAL JAZZ AWARDS 18NEW ADVENTURES IN SOUND ART 22NORTH YORK CONCERT BAND 34NORTH YORK CONCERT ORCHESTRA 36OAKVILLE CHILDREN’S CHOIR 30OPERA BY REQUEST 20,30OPERA-IS 54ORCHESTRA TORONTO 32ORCHESTRAS MISSISSAUGA 16ORGANIX 4ORIANA WOMEN’S CHOIR 26ORPHEUS CHOIR 26OXFORD CHURCH MUSIC 17PASQUALE BROS. 47PAX CHRISTI CHORALE 17 TOM DIAMONDWAYNE STRONGMANCAMELLIA KOOROBERT THOMSONCARLA HUHTANENPETER MCGILLIVRAYSCOTT BELLUZKEITH KLASSENand THEODORE BAERG PETER MAHON 19PHILHARMONIC MUSIC LTD. 45RCCO 4RCM 42REMENYI 15SAINT BLAISE 30SILVERTHORN SYMPHONIC WINDS 20SINFONIA TORONTO 13,25SOUND POST 16SOUNDSTREAMS 56ST OLAVE’S CHURCH 37ST. JAMES CATHEDRAL 30ST. MARK’S PRESBYTERIAN 44TAFELMUSIK 2TALLIS CHOIR 27TAPESTRY NEW OPERA 21TORONTO ALL-STAR BIG BAND 19TORONTO CHILDREN’S CHORUS 37,41TORONTO CHORAL SOCIETY 31TORONTO CLASSICAL SINGERS 23TORONTO JEWISH FOLK CHOIR 35TORONTO OPERA REPERTOIRE 44TORONTO SINFONIETTA 43TORONTO SYMPHONY ORCHESTRA 3VIA SALZBURG 36VICTORIA SCHOLARS 37VILLAGE VOICES 30VIVA! YOUTH SINGERS 31WALLY HAUPT TRAVEL MARKETING INC. 43WENDY LIMBERTIE 45WINDERMERE QUARTET 27WOMEN’S MUSICAL CLUB 14MAY 1 – JUNE 7 2009 WWW.THEWHOLENOTE.COM21PHOTOS (L–R) CARLA HUHTANEN, PETER MCGILLIVRAY,SCOTT BELLUZ, KEITH KLASSEN AND THEODORE BAERGGRAPHIC DESIGN ROSSIGNOL & ASSOCIATES
Loading...
Loading...
Loading...
Welcome to our December/January issue as we turn the annual calendar page, halfway through our season for the 25th time, juggling as always, secular stuff, the spirit of the season, new year resolve and winter journeys! Why is Mozart's Handel's Messiah's trumpet a trombone? Why when Laurie Anderson offers to fly you to the moon you should take her up on the invitation. Why messing with Winterreisse can (sometimes) be a very good thing! And a bumper crop of record reviews for your reading (and sometimes listening) pleasure. Available in flipthrough here right now, and on stands commencing Thursday Nov 28. See you on the other side!
Long promised, Vivian Fellegi takes a look at Relaxed Performance practice and how it is bringing concert-going barriers down across the spectrum; Andrew Timar looks at curatorial changes afoot at the Music Gallery; David Jaeger investigates the trumpets of October; the 30th anniversary of the Velvet Revolution (and the 20th Anniversary of our October Blue Pages Presenter profiles) in our Editor's Opener; the Toronto Mendelssohn Choir at 125; Tapestry at 40 and Against the Grain at 10; ringing in the changing season across our features and columns; all this and more, now available in Flip Through format here, and on the stands commencing this coming Friday September 27, 2019. Enjoy.
Vol 1 of our 25th season is now here! And speaking of 25, that's how many films in the upcoming Toronto International Film Festival editor Paul Ennis, in our Eighth Annual TIFF TIPS, has chosen to highlight for their particular musical interest. Also inside: Rob Harris looks through the Rear View Mirror at past and present prognostications about the imminent death of classical music; Mysterious Barricades and Systemic Barriers are Lydia Perović's preoccupations in Art of Song; Andrew Timar reflects on the evolving priorities of the Polaris Prize; and elsewhere, it's chocks away as yet another season creaks or roars (depending on the beat) into motion. Welcome back.
What a range of stuff! A profile of Liz Upchurch, the COC ensemble studio's vocal mentor extraordinaire; a backgrounder on win-win faith/arts centre partnerships and ways of exploring the possibilities; an interview with St. Petersburg-based Eifman Ballet's Boris Eifman; Ana Sokolovic's violin concert Evta finally coming to town; a Love Letter to YouTube, and much more. Plus our 17th annual Canary Pages Choral directory if all you want to do is sing! sing! sing!
Arraymusic, the Music Gallery and Native Women in the Arts join for a mini-festival celebrating the work of composer, performer and installation artist Raven Chacon; Music and Health looks at the role of Healing Arts Ontario in supporting concerts in care facilities; Kingston-based composer Marjan Mozetich's life and work are celebrated in film; "Forest Bathing" recontextualizes Schumann, Shostakovich and Hindemith; in Judy Loman's hands, the harp can sing; Mahler's Resurrection bursts the bounds of symphonic form; Ed Bickert, guitar master remembered. All this and more in our April issue, now online in flip-through here, and on stands commencing Friday March 29.
Something Old, Something New! The Ide(a)s of March are Upon Us! Rob Harris's Rear View Mirror looks forward to a tonal revival; Tafelmusik expands their chronological envelope in two directions, Esprit makes wave after wave; Pax Christi's new oratorio by Barbara Croall catches the attention of our choral and new music columnists; and summer music education is our special focus, right when warm days are once again possible to imagine. All this and more in our March 2019 edition, available in flipthrough here, and on the stands starting Thursday Feb 28.
In this issue: A prize that brings lustre to its laureates (and a laureate who brings lustre to the prize); Edwin Huizinga on the journey of Opera Atelier's "The Angel Speaks" from Versailles to the ROM; Danny Driver on playing piano in the moment; Remembering Neil Crory (a different kind of genius)' Year of the Boar, Indigeneity and Opera; all this and more in Volume 24 #5. Online in flip through, HERE and on the stands commencing Thursday Jan 31.
When is a trumpet like a motorcycle in a dressage event? How many Brunhilde's does it take to change an Elektra? Just two of the many questions you've been dying to ask, to which you will find answers in a 24th annual combined December/January issue – in which our 11 beat columnists sift through what's on offer in the upcoming holiday month, and what they're already circling in their calendars for 2019. Oh, and features too: a klezmer violinist breathing new life into a very old film; two New Music festivals in January, 200 metres apart; a Music & Health story on the restorative powers of a grassroots exercise in collective music-making; even a good reason to go to Winnipeg in the dead of winter. All this and more in Vol 24 No 4, now available in flipthrough format here.
Reluctant arranger! National Ballet Orchestra percussionist Kris Maddigan on creating the JUNO and BAFTA award-winning smash hit Cuphead video game soundtrack; Evergreen by name and by nature, quintessentially Canadian gamelan (Andrew Timar explains); violinist Angèle Dubeau on 20 years and 60 million streams; two children’s choirs where this month remembrance and living history must intersect. And much more, online in our kiosk now, and on the street commencing Thursday November 1.
Presenters, start your engines! With TIFF and "back-to-work" out of the way, the regular concert season rumbles to life, and, if our Editor's Opener can be trusted, "Seeking Synergies" seems to be the name of the game. Denise Williams' constantly evolving "Walk Together Children" touching down at the Toronto Centre for the Arts; the second annual Festival of Arabic Music and Arts expanding its range; a lesson in Jazz Survival with Steve Wallace; the 150 presenter and performer profiles in our 19th annual Blue Pages directory... this is an issue that is definitely more than the sum of its parts.
In this issue: The WholeNote's 7th Annual TIFF TIPS guide to festival films with musical clout; soprano Erin Wall in conversation with Art of Song columnist Lydia Perovic, about more than the art of song; a summer's worth of recordings reviewed; Toronto Chamber Choir at 50 (is a few close friends all it takes?); and much more, as the 2018/19 season gets under way.
PLANTING NOT PAVING! In this JUNE / JULY /AUGUST combined issue: Farewell interviews with TSO's Peter Oundjian and Stratford Summer Music's John Miller, along with "going places" chats with Luminato's Josephine Ridge, TD Jazz's Josh Grossman and Charm of Finches' Terry Lim. ) Plus a summer's worth of fruitful festival inquiry, in the city and on the road, in a feast of stories and our annual GREEN PAGES summer Directory.
In this issue: our sixteenth annual Choral Canary Pages; coverage of 21C, Estonian Music Week and the 3rd Toronto Bach Festival (three festivals that aren’t waiting for summer!); and features galore: “Final Finales” for Larry Beckwith’s Toronto Masque Theatre and for David Fallis as artistic director of Toronto Consort; four conductors on the challenges of choral conducting; operatic Hockey Noir; violinist Stephen Sitarski’s perspective on addressing depression; remembering bandleader, composer and saxophonist Paul Cram. These and other stories, in our May 2018 edition of the magazine.
In this issue: we talk with jazz pianist Thompson Egbo-Egbo about growing up in Toronto, building a musical career, and being adaptive to change; pianist Eve Egoyan prepares for her upcoming Luminato project and for the next stage in her long-term collaborative relationship with Spanish-German composer Maria de Alvear; jazz violinist Aline Homzy, halfway through preparing for a concert featuring standout women bandleaders, talks about social equity in the world of improvised music; and the local choral community celebrates the life and work of choral conductor Elmer Iseler, 20 years after his passing.
In this issue: Canadian Stage, Tapestry Opera and Vancouver Opera collaborate to take Gogol’s short story The Overcoat to the operatic stage; Montreal-based Sam Shalabi brings his ensemble Land of Kush, and his newest composition, to Toronto; Five Canadian composers, each with a different CBC connection, are nominated for JUNOs; and The WholeNote team presents its annual Summer Music Education Directory, a directory of summer music camps, programs and courses across the province and beyond.
In this issue: composer Nicole Lizée talks about her love for analogue equipment, and the music that “glitching” evokes; Richard Rose, artistic director at the Tarragon Theatre, gives us insights into their a rock-and-roll Hamlet, now entering production; Toronto prepares for a mini-revival of Schoenberg’s music, with three upcoming shows at New Music Concerts; and the local music theatre community remembers and celebrates the life and work of Mi’kmaq playwright and performer Cathy Elliott . These and other stories, in our double-issue December/January edition of the magazine.
In this issue: conversations (of one kind or another) galore! Daniela Nardi on taking the reins at "best-kept secret" venue, 918 Bathurst; composer Jeff Ryan on his "Afghanistan" Requiem for a Generation" partnership with war poet, Susan Steele; lutenist Ben Stein on seventeenth century jazz; collaborative pianist Philip Chiu on going solo; Barbara Hannigan on her upcoming Viennese "Second School" recital at Koerner; Tina Pearson on Pauline Oliveros; and as always a whole lot more!
In this issue: several local artists reflect on the memory of composer Claude Vivier, as they prepare to perform his music; Vancouver gets ready to host international festival ISCM World New Music Days, which is coming to Canada for the second time since its inception in 1923; one of the founders of Artword Artbar, one of Hamilton’s staple music venues, on the eve of the 5th annual Steel City Jazz Festival, muses on keeping urban music venues alive; and a conversation with pianist Benjamin Grosvenor, as he prepares for an ambitious recital in Toronto. These and other stories, in our October 2017 issue of the magazine.
In this issue: a look at why musicians experience stage fright, and how to combat it; an inside look at the second Kensington Market Jazz Festival, which zeros in on one of Toronto’s true ‘music villages’; an in-depth interview with Elisa Citterio, new music director of Tafelmusik Baroque Orchestra; and The WholeNote’s guide to TIFF, with suggestions for the 20 most musical films at this year’s festival. These and other stories, in our September 2017 issue of the magazine!
CBC Radio's Lost Horizon; Pinocchio as Po-Mo Operatic Poster Boy; Meet the Curators (Crow, Bernstein, Ridge); a Global Music Orchestra is born; and festivals, festivals, festivals in our 13th annual summer music Green Pages. All this and more in our three-month June-through August summer special issue, now available in flipthrough HERE and on the stands commencing Thursday June 1.
From science fact in "Integral Man: Music and the Movies," to science fiction in the editor's opener; from World Fiddle Day at the Aga Khan Museum to three Canadians at the Cliburn; from wanting to sashay across the 401 to Chamberfest in Montreal to exploring the Continuum of Jumblies Theatre's 20-year commitment to the Community Play (there's a pun in there somewhere!).
In this issue: Our podcast ramps up with interviews in March with fight director Jenny Parr, countertenor Daniel Taylor, and baritone Russell Braun; two views of composer John Beckwith at 90; how music’s connection to memory can assist with the care of patients with Alzheimer’s; musical celebrations in film and jazz, at National Canadian Film Day and Jazz Day; and a preview of Louis Riel, which opens this month at the COC. These and other stories, in our April 2017 issue of the magazine!
On our cover: Owen Pallett's musical palette on display at New Creations. Spring brings thoughts of summer music education! (It's never too late.). For Marc-Andre Hamelin the score is king. Ella at 100 has the tributes happening. All; this and more.
In this issue: an interview with composer/vocalist Jeremy Dutcher, on his upcoming debut album and unique compositional voice; a conversation with Boston Symphony hornist James Sommerville, as as the BSO gets ready to come to his hometown; Stuart Hamilton, fondly remembered; and an inside look at Hugh’s Room, as it enters a complicated chapter in the story of its life in the complex fabric of our musical city. These and other stories, as we celebrate the past and look forward to the rest of 2016/17, the first glimpses of 2017/18, and beyond!
In this issue: a conversation with pianist Stewart Goodyear, in advance of his upcoming show at Koerner Hall; a preview of the annual New Year’s phenomenon that is Bravissimo!/Salute to Vienna; an inside look at music performance in Toronto’s health-care centres; and a reflection on the incredible life and lasting influence of the late Pauline Oliveros. These and more, in a special December/January combined issue!
In this issue: David Jaeger and Alex Pauk’s most memorable R. Murray Schafer collabs, in this month’s installment of Jaeger’s CBC Radio Two: The Living Legacy; an interview with flutist Claire Chase, who brings new music and mindset to Toronto this month; an investigation into the strange coincidence of three simultaneous Mendelssohn Elijahs this Nov 5; and of course, our annual Blue Pages, a who’s who of southern Ontario’s live music scene- a community as prolific and multifaceted as ever. These and more, as we move full-force into the 2016/17 concert season- all aboard!
Music lover's TIFF (our fifth annual guide to the Toronto International Film Festival); Aix Marks the Spot (how Brexit could impact on operatic co-production); The Unstoppable Howard Cable (an affectionate memoir of a late chapter in the life of of a great Canadian arranger; Kensington Jazz Story (the newest kid on the festival block flexes its muscles). These stories and much more as we say a lingering goodbye to summer and turn to the task, for the 22nd season, of covering the live and recorded music that make Southern Ontario tick.
It's combined June/July/August summer issue time with, we hope, enough between the covers to keep you dipping into it all through the coming lazy, hazy days. From Jazz Vans racing round "The Island" delivering pop-up brass breakouts at the roadside, to Bach flute ambushes strolling "The Grove, " to dozens of reasons to stay in the city. May yours be a summer where you find undiscovered musical treasures, and, better still, when, unexpectedly, the music finds you.
INSIDE: The Canaries Are Here! 116 choirs to choose from, so take the plunge! The Nylons hit the road after one last SING! Fling. Jazz writer Steve Wallace wonders "Watts Goode" rather than "what's new?" Paul Ennis has the musical picks of the HotDocs crop. David Jaeger's CBC Radio continues golden for a little while yet. Douglas McNabney is Music's Child. Leipzig meets Damascus in Alison Mackay's fertile imagination. And "C" is for KRONOS in Wende Bartley's koverage of the third annual 21C Festival. All this and as usual much much more. Enjoy.
From 30 camp profiles to spark thoughts of being your summer musical best, to testing LUDWIG as you while away the rest of so-called winter; from Scottish Opera and the Danish Midtvest, to a first Toronto recital appearance by violin superstar Maxim Vengerov; from musings on New Creations and new creation, to the boy who made a habit of crying Beowulf; it's a month of merry meetings and rousing recordings reviewed, all here to discover in The WholeNote.
2016 is off to a flying start! We chronicle the Artful Times of Andrew Burashko, the violistic versatility of Teng Li, the ageless ebullience of jazz pianist Gene DiNovi and the ninetieth birthday of trumpeter Johnny Cowell. Jaeger remembers Boulez; Waxman recalls Bley's influence, and Olds finds Bowie haunting Editor's Corner. Oh, and did we mention there's all that music? Hello (and goodbye) to the February blues, and here's to swinging through the musical vines of the Year of the Monkey.
What's a vinyl renaissance? What happens when Handel's Messiah runs afoul of the rumba rhythm setting on a (gasp!) Hammond organ? What work does Marc-Andre Hamelin say he would be content to have on every recital program he plays? What are Steve Wallace's favourite fifty Christmas recordings? Why is violinist Daniel Hope celebrating Yehudi Menuhin's 100th birthday at Koerner Hall January 28? Answers to all these questions (and a whole lot more) in the Dec/Jan issue of The WholeNote.
"Come" seems to be the verb that knits this month's issue together. Sondra Radvanovsky comes to Koerner, William Norris comes to Tafel as their new GM, opera comes to Canadian Stage; and (a long time coming!) Jane Bunnett's musicianship and mentorship are honoured with the Premier's award for excellence; plus David Jaeger's ongoing series on the golden years of CBC Radio Two, Andrew Timar on hybridity, a bumper crop of record reviews and much much more. Come on in!
Vol 21 No 2 is now available for your viewing pleasure, and it's a bumper crop, right at the harvest moon. First ever Canadian opera on the Four Seasons Centre main stage gets double coverage with Wende Bartley interviewing Pyramus and Thisbe composer Barbara Monk Feldman and Chris Hoile connecting with director Christopher Alden; Paul Ennis digs into the musical mind of pianist Benjamin Grosvenor, and pianist Eve Egoyan is "On the Record" in conversation with publisher David Perlman ahead of the Oct release concert for her tenth recording. And at the heart of it all the 16th edition of our annual BLUE PAGES directory of presenters profile the season now well and truly under way.
Paul Ennis's annual TIFF TIPS (27 festival films of potential particular musical interest); Wu Man, Yo-Yo Ma and Jeffrey Beecher on the Silk Road; David Jaeger on CBC Radio Music in the days it was committed to commissioning; the LISTENING ROOM continues to grow on line; DISCoveries is back, bigger than ever; and Mary Lou Fallis says Trinity-St. Paul's is Just the Spot (especially this coming Sept 25!).