to Mike Murley, Terry Promane, Jef Deeganand John MacLeod who lay down the richlayers of sound which add so much to theoriginal compositions of Mike Murley. If youlisten carefully to the final track, “Can’t YouSee,” you might just recognize the chordchanges of “It’s You Or No One.” Murley is thefeatured soloist displaying his usual formidabletalent along with members of the U ofT Jazz Orchestra. I am constantly amazedat the technical proficiency of so many oftoday’s young musicians, talents that areamply demonstrated on this recording, withseven members of the orchestra sharing solohonours with Murley.The CD will be available through Indie Pool,Amazon and will have distribution on iTunes.—Jim GallowayLive at MusideumDon Naduriak and XavierjazzIndependent!!Don Naduriakpiano, Bill McBirnieflute, Russ Littletrombone, DuncanHopkins bass, JoaquinHidalgo drums. Allcompositions andarrangements byDon Naduriak.Don Naduriak has been active in establishingLatin music in Canada with hisbands Salsa Con Clave and his current groupXavierjazz. This CD was recorded before anaudience at the Musideum. For those of youwho are not familiar with the venue, createdby composer Donald Quan, it is quite unlikeany other in that it is also a retail store situatedin downtown Toronto at Richmond andSpadina and stocked with rare and unusualinstruments. As a venue it is unique and as astore it is certainly worth visiting even if thereis no performance scheduled.Now to the CD. If you like your music Latin,this is for you. The two horn players handlethe ensemble passages fluently and thoseof you who are familiar with the playing ofRuss Little and Bill McBirnie know that thesolo department is in good hands. That said,one of the most enjoyable tracks for me, “BigJoe Beam” — nice pun — is a feature for DonNaduriak. This is music performed by giftedartists who are very much at home in thegenre and is well worth a listen.—Jim GallowayDreamMichele MeleIndependent GKM 1001michelemele.com!!In her second inspired collaboration withproducer Greg Kavanagh, luminous vocalistand contemporary jazz composer MicheleMele has once again created a recording oforiginal music that is as accessible, captivatingand refreshing as a perfect spring day.Mele’s life is her musical canvas, and sheallows her clever lyricsand delightfully contagiousmelodic linesto give us a glimpseinto her most intimatefeelings — and thoserelatable, humanemotions are consistentlyrendered withpurity, honesty and high musicality.Dream has been expertly producedand arranged by Kavanagh, and Mele hassurrounded herself with a stellar cast thatincludes trumpet/flugelhorn icon GuidoBasso, piano genius Robbi Botos and firstcallsaxophonist John Johnson. AlthoughMele never panders to us with over-troddenstandards or gratuitous scat singing, she is aserious jazz composer, lyricist and vocalistwho simply prefers to colour outside the linesa wee bit — not unlike Bob Dorough, DaveFrishberg, Blossom Dearie or Mose Allison.Standout tracks include the title song,which lures the listener directly into Mele’sbeautiful “dream” — lulled along by thesinewy, rich saxophone of Johnson, Botos’crystalline piano work and Mele’s sensualand swinging signature vocal sound. Thegreat Guido Basso also lends his own specialmagic to the CD, particularly on the track“The More” — sung in English, Spanish andFrench by the multilingual Mele. Also of noteare the touching compositions, “Intimacy,”which is breathtakingly beautiful and featuresa heartrending lyric, and also the witty “Anti-Magiana,” which utilizes intricate Latinrhythms expertly played by brothers Lewand John Mele on bass and drums, as well asrichly layered vocal nuances.—Lesley Mitchell-ClarkeSmall ChoicesPapetti-Manisalco-RubinoAUT Records 006!!Why not improviseon so-called classicalmusic themes isa question increasinglyanswered in thepositive by adventurousplayers of everygenre. Thus the Italiantrio involved in SmallChoices dedicates more than half this CD tosuch prestidigitation.These are serious improvisations, not ajazzy overlay of notated music however.Which means that when bassist GiacomoPapetti, pianist Emanuele Maniscalco andGabriele Rubino on piccolo, soprano andbass clarinets deal with themes by Sibelius orLigeti they bring the same freedom to experimentwith them as they would with tunes byEllington or Monk.“Fine del Tempo,” for instance, inspired byMessiaen’s Quatuor pour la Fin du Temps,adds a rhythmic undertow, and before recappingthe head, stretches the theme withunbroken trills from Rubino, Papetti’s slapbass plus Maniscalco’s repeated note clusters.On the other hand, Escape from Ainola, takenfrom Sibelius’ Fifth Symphony, maintainspanoramic echoes with resonating chordsfrom the keyboard and a buzzing bass line.Here Rubino creates the bonding ostinato asthe others interject sub-motifs or decorate thebrooding theme.Solid definitions and identifications areproven unfeasible on some of the othertracks however. With sweeping piano glissandi,double bass thumps and a melodypropelled by delicate soprano clarinet sweeps,“Nascondere” appears to be another contrafactof classical notated music. Instead it’s acompletely original composition by Papetti.Two of the three players here earnedadvanced conservatory degrees in bothnotated and improvised music. AlthoughManiscalco, in contrast, is an autodidact — likeSchoenberg and Elgar — this sort of jazz-classicalcrossover will likely become muchmore common in the future. “Small Choices”shows the way.—Ken WaxmanTriple PlayRussell MaloneMaxJazz MXJ607This Side of StrayhornTerell StaffordMaxJazz MXJ408! ! Here are tworeleases on theMAXJAZZ label whichwas founded in 1998and is now releasingits albums via theMAXJAZZ website andwith internationaldistribution by Naxos.Russell Malone’sTriple Play (RussellMalone guitar, DavidWong bass, MontezColeman drums)features four nicelymelodic originals byMalone and sevenby others rangingfrom “Butch And Butch” by Oliver Nelsonto the seldom heard “The Kind Of Girl SheIs” by Alan and Marilyn Bergman and DaveGrusin. There is also a beautifully sensitivesolo performance of the Alex North composition“Unchained Melody.” This is a very satisfyingCD and a welcome addition to any jazzcollection.Terrell Stafford’s This Side of Strayhornfeatures Stafford on trumpet and flugelhorn,Tim Warfield, on soprano and tenor saxophone,Bruce Barth piano, Peter Washingtonbass and Dana Hall drums. An album dedicatedto the compositions of Mr. Strayhornis off to a good start and this one followsthrough with some formidable playing byStafford and his fellow musicians. One of thetracks is “Lana Turner” which, in case you’re72 | Novemberr 1 – December 7, 2013 thewholenote.com
wondering, was later re-titled “Charpoy.”The CD is a rich cross-section of Strayhorn’samazing output, running the gamut from“Lush Life” to “Smada” via “Day Dream.”The excellent arrangements are by BruceBarth who also adds some first rate solos.But it is the melodic warm sound of Stafford,ably accompanied by Tim Warfield thatstays with me.If these releases are typical of the MAXJAZZcatalogue I can only say that I look forward tohearing more.—Jim GallowayAfter BlueTierney SuttonBFM Jazz 3020624192tierneysutton.com!!Tierney Sutton, thefive-time Grammynominatedjazzsinger has turned herconsiderable talents toJoni Mitchell’s musicon this, her tenthrelease. After Blue isa collection of covers,mostly from Mitchell’s heyday in the 70s and80s, and includes some of her more popularhits like “Big Yellow Taxi,” “Woodstock”and “Both Sides Now.” The challenge withcovering much-loved songs such as these is tobe innovative enough to not slavishly mimic,without straying so far from the original asto render the songs unrecognizable. Suttonand the band have managed to strike that finebalance, largely by staying true to Mitchell’svocal lines while introducing clever newtreatments and arrangements through theinstrumental accompaniment.The band members on After Blue are notSutton’s regulars and include such greatsas Al Jarreau (the 73-year-old is a gas on BeCool), Hubert Laws, Peter Erskine (who wasMitchell’s drummer on Both Sides Now andMingus) and Larry Goldings. But it’s thework of the Turtle Island Quartet that reallyelevates some of these tunes, in particular“Little Green,” a simple song from Mitchell’searly days that here gets made over into acontrapuntal beauty. Cellist Kevin Summershines as his solo work with Sutton on “All IWant” is multi-textured and lively. Although“Dry Cleaner from Des Moines” is fun in itsstripped down, beatnik form here, it doesn’thold a candle to the energy of the original.In general, this is a low-key, thoughtfulalbum and a wonderful tribute to a mastersongwriter.—Cathy RichesAlways find more reviewsonline at thewholenote.comIn 2007 trumpeter David Buchbinderreleased a CD called Odessa/Havana,an innovative mix of Eastern Europeanklezmer and Latin American dancerhythms that touched on their commonroots in the Middle East and AndalusianSpain. It was a brilliant success,finding genuine internationalacclaim. Odessa/Havana returnswith Walk to the Sea (Tzadik 8177,odessahavana.com), a sequel thatpossesses even greater resonance,moving beyond the originalinstrumentals of the first CD toinclude songs from the Judeo-Spanish Ladino tradition, with pianistHilario Durán’s arrangementsof older songs andBuchbinder’s fresh settings ofpoems by Lina Kohen Albukrek,sung here by Maryem HassanTollar. The work is filled withrare grace and power, combiningBuchbinder’s lyricism and Durán’sfire with an ensemble that isalive with varied percussion andvernacular fretted instrumentsfrom the middle-Eastern oud tothe Cuban très. John Johnsoncontributes orchestral colour on ahost of reeds and brings an explosive,dancing freedom with histenor saxophone.It’s a Free Country (craigpedersen.com)by Montreal-based trumpeterCraig Pedersen and bassist JoelKerr may be unusual enoughas a trumpet-bass duo, but thematerial makes it stranger still:it’s largely devoted to country andwestern themes approached from avariety of vantage points, includingstraightforward readings of tunes toexploratory free improvisation. Youknow something different is afoot on theopening title tune, with voices intoning: “It’sa free country/ but only for me.” Mixing inoriginal compositions, it’s always unpredictable:Pedersen’s own “Williams Lake” hasthe clarity and grace of a gospel choir singingin a clearing in the woods; J.P. Webster’s“Wildwood Flower” has trumpet and arcobass in unison; Willie Nelson’s “Crazy” beginsin sputtering free improvisation long beforeits famous melody emerges. It’s consistentlyplayful, imaginative work that’s somehowtrue to both the emotional directness ofcountry music and the oblique abstractionof current improvisation, just not at thesame time.Wide-open spaces also inspire composer/reed player Rob Mosher, who grew up in thevillage of Greenwood, Nova Scotia, moved toSTUART BROOMERToronto for composition studies, then settledin New York. His recent suite, Polebridge(robmosher.com), reflects both his mobilityand his keen sense of place, as he goes furtherafield for inspiration. Polebridge, Montanais a hamlet of 88 people, the same numberas the keys on a piano, and whenMosher arrived there he found anold piano abandoned in a lane.That image colours the music,a genuine chamber jazz mutation:there’s a seamless interplayof composed and improvisedelements that draw inspirationfrom sources as diverse as AaronCopland and klezmer as well as theimages of a western town outside oftime. The group foregrounds thevirtuoso trumpeter Micah Killionand pianist Stephanie Nilles, butthe score is alive with unusualtimbres, from country fiddleand mandolin to English hornand bassoon.It’s rare to hear a jazz quintetthat similarly explores sonority,but that’s Toronto guitarist HarleyCard’s frequent emphasis on hissecond CD as leader, Hedgerow(DYM002, harleycard.ca)beginning with his own guitarchoices, from the sparkling,icy clarity of his electric on GetThere to the warm, ringing, steelstringacoustic of “Helicopters andHolograms.” The emphasis extendsto his band and his compositions:Tenor saxophonist David Frenchalso plays bass clarinet, MattNewton plays acoustic andelectric piano and, among theshifting rhythm players, Jon Maharajplays acoustic and electric bass. That love ofmutating sonorities works hand-in-glovewith Card’s fondness for short, repeatingfigures with modulating harmonies, evidentin tunes like “Hedgerow” and “Sophomore.”Whether the ultimate effect is pensive orcelebratory, Card plays and writes witha keen sense of mood and emotionalcommunication.Bop is at the source of most forms ofmodern jazz, whether it’s the harmoniclanguage of cool jazz, the aggressive swing ofhard bop or the spiky melodies and rhythmsof free jazz, but it’s rare to hear bop stronglyevoked today. The Miles Black Trio with GrantStewart (Cellar Live CL041313, cellarlive.com), recorded at Vancouver saxophonistCory Weeds’ Cellar Jazz Club, does just that.Tenor saxophonist Stewart can suggest thecompound messages of the great DexterGordon, lush and hard-edged, relaxed andthewholenote.com November 1 – December 7, 2013 | 73
Choral Scene: Uncharted territory: three choirs finding paths forward; Music Theatre: Loose Tea on the boil with Alaina Viau’s Dead Reckoning; In with the New: what happens to soundart when climate change meets COVID-19; Call to action: diversity, accountability, and reform in post-secondary jazz studies; 9th Annual TIFF Tips: a filmfest like no other; Remembering: Leon Fleisher; DISCoveries: a NY state of mind; 25th anniversary stroll-through; and more.
Online in flip through here, and on stands commencing Tues SEP 1.
Following the Goldberg trail from Gould to Lang Lang; Measha Brueggergosman and Edwin Huizinga on face to face collaboration in strange times; diggings into dance as FFDN keeps live alive; "Classical unicorn?" - Luke Welch reflects on life as a Black classical pianist; Debashis Sinha's adventures in sound art; choral lessons from Skagit Valley; and the 21st annual WholeNote Blue Pages (part 1 of 3) in print and online. Here now. And, yes, still in print, with distribution starting Thursday October 1.
Alanis Obomsawin's art of life; fifteen Exquisite Departures; UnCovered re(dis)covered; jazz in the kitchen; three takes on managing record releases in times of plague; baroque for babies; presenter directory (blue pages) part two; and, here at the WholeNote, work in progress on four brick walls (or is it five?). All this and more available in flipthrough HERE, and in print Tuesday Nov 3.
In this issue: Beautiful Exceptions, Sing-Alone Messiahs, Livingston’s Vocal Pleasures, Chamber Beethoven, Online Opera (Plexiglass & All), Playlist for the Winter of our Discontent, The Oud & the Fuzz, Who is Alex Trebek? All this and more available in flipthrough HERE, and in print Friday December 4.
July/August issue is now available in flipthrough HERE, bringing to a close 25 seasons of doing what we do (and plan to continue doing), and on stands early in the week of July 5. Not the usual bucolic parade of music in the summer sun, but lots, we hope, to pass the time: links to online and virtual music; a full slate of record reviews; plenty new in the Listening Room; and a full slate of stories – the future of opera, the plight of small venues, the challenge facing orchestras, the barriers to resumption of choral life, the challenges of isolation for real-time music; the steps some festivals are taking to keep the spirit and substance of what they do alive. And intersecting with all of it, responses to the urgent call for anti-racist action and systemic change.
"COVID's Metamorphoses"? "There's Always Time (Until Suddenly There Isn't)"? "The Writing on the Wall"? It's hard to know WHAT to call this latest chapter in the extraordinary story we are all of a sudden characters in. By whatever name we call it, the MAY/JUNE combined issue of The WholeNote is now available, HERE in flip through format, in print commencing Wednesday May 6, and, in fully interactive form, online at thewholenote.com. Our 18th Annual Choral Canary Pages, scheduled for publication in print and flip through in September is already well underway with the first 50 choirs home to roost and more being added every week online. Community Voices, our cover story, brings to you the thoughts of 30 musical community members, all going through what we are going through (and with many more to come as the feature gets amplified online over the course of the coming months). And our regular writers bring their personal thoughts to the mix. Finally, a full-fledged DISCoveries review section offers cues and clues to recorded music for your solitary solace!
After some doubt that we would be allowed to go to press, in respect to wide-ranging Ontario business closures relating to COVID-19, The WholeNote magazine for April 2020 is now on press, and print distribution – modified to respect community-wide closures and the need for appropriate distancing – starts Monday March 30. Meanwhile the full magazine is right here, digitally, so if you value us PLEASE SHARE THIS LINK AS WIDELY AS YOU CAN. It's the safest way for us to reach the widest possible audience at this time!
FEATURED: Music & Health writer Vivien Fellegi explores music, blindness & the plasticity of perception; David Jaeger digs into Gustavo Gimeno's plans for new music in his upcoming first season as music director at TSO; pianist James Rhodes, here for an early March recital, speaks his mind in a Q&A with Paul Ennis; and Lydia Perovic talks music and more with rising Turkish-Canadian mezzo Beste Kalender. Also, among our columns, Peggy Baker Dance Projects headlines Wende Bartley's In with the New; Steve Wallace's Jazz Notes rushes in definitionally where many fear to tread; ... and more.
Visions of 2020! Sampling from back to front for a change: in Rearview Mirror, Robert Harris on the Beethoven he loves (and loves to hate!); Errol Gay, a most musical life remembered; Luna Pearl Woolf in focus in recordings editor David Olds' "Editor's Corner" and in Jenny Parr's preview of "Jacqueline"; Speranza Scappucci explains how not to reinvent Rossini; The Indigo Project, where "each piece of cloth tells a story"; and, leading it all off, Jully Black makes a giant leap in "Caroline, or Change." And as always, much more. Now online in flip-through format here and on stands starting Thurs Jan 30.
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!
On the slim chance you might not have already heard the news, Estonian Canadian composing giant Udo Kasemets was born the same year that Leo Thermin invented the theremin --1919. Which means this is the centenary year for both of them, and both are being celebrated in style, as Andrew Timar and MJ Buell respectively explain. And that's just a taste of a bustling November, with enough coverage of music of both the delectably substantial and delightfully silly on hand to satisfy one and all.
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!).
