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!).
MAX WHITTAKER (“Behind
MAX WHITTAKER (“Behind the Cello” 2014) Not everyone has been eager to jump on the “we are the world” bandwagon, however. For decades numerous critical voices have raised concerns about globalization’s dire effects: on one hand that it further marginalizes rural and minority forms of expression, sometimes pushing them to the point of extinction, and on the other hand privileging commercially dominant mass-mediated ones. Ma’s optimistic view firmly stresses globalization’s positive rewards however, summarized by his statement, “globalization creates culture.” His SRE musical journeys have only reinforced this conviction. Interactions brought about by globalization “don’t just destroy culture; they can create new culture and invigorate and spread traditions that have existed for ages precisely because of the ‘edge effect,’” notes Ma in “Behind the Cello.” “Sometimes the most interesting things happen at the edge. The intersections there can reveal unexpected connections. Culture is a fabric composed of gifts from every corner of the world.” As a leading cello soloist, it’s almost predictable that Ma would cite the story of one of the movements in J.S. Bach’s Cello Suites, at the core of cello repertoire, to support his main thesis. He tells us it’s one of his favourite stories. “At the heart of each suite is a dance movement called the sarabande. The dance and its music originated among the North African Berbers, where it was a slow, sensual dance. It next appeared in Spain where it was banned because it was considered lewd and lascivious. Spaniards brought it to the Americas, but it also traveled on to France, where it became a courtly dance. In the 1720s, Bach incorporated the sarabande as a movement in his Cello Suites. Today, I play Bach [as] a Paris-born American musician of Chinese parentage. So who really owns the sarabande? Each culture has adopted the music, investing it with specific meaning, but each culture must share ownership: it belongs to us all.” (“Behind the Cello” 2014) Ma’s tracing of the sarabande’s musical (but also choreographic) journey, a string of exchanges and evolutions, bring to light at least six geo-cultural regional affiliations: North African, Spanish, American, French, German and Chinese. Ma’s statement, moreover, forcefully promotes inclusiveness and multiple authenticities while challenging normative monocultural ownership models and also by implication, notions of simple cultural authenticity and “purity.” In his statement Ma proposes an equitable extension of ownership of cultural practices across several regions, rather than to sole actors, further suggesting its ultimate and most appropriate resting place is universal (“ownership…belongs to us all”). Ma also points out in “Behind the Cello” the importance of cultural “necessary edges,” liminal boundaries where intersections and exchanges “I feel that only if you know your roots can you then imagine how to create something new.” Wu Man often first take place, using another metaphor borrowed from another discipline. “The ‘edge effect’ in ecology occurs at the border where two ecosystems – for example the savannah and forest – meet. At that interface, where there is the least density and the greatest diversity of life forms, each living thing can draw from the core of the two ecosystems. That is where new life forms emerge.” Human society also requires such necessary edge sites, he argues. “The hard sciences are probing one far end of the bandwidth, searching for the origins of the universe or the secrets of the genome. People in the arts are probing the other far end of the bandwidth.” He concludes that only when “science and the arts, critical and empathetic reasoning, are linked to the mainstream will we find a sustainable balance in society.” Is this the sort of liminal juncture, the “necessary edge” where the SRE also does its most creative, its most culturally valuable work? Having a Toronto street named after him – Yo-Yo Ma Lane runs across from the Music Garden he helped design – certainly gives a living musician street cred in this too often cold burg. And there is evidence that the SRE’s secular universalist musical philosophy may have a particular resonance with Toronto audiences’ musical values and expectations. Chris Lorway, director of programming and marketing for Massey Hall/ Roy Thomson agrees. In an August 18 e-mail he wrote that SRE’s guiding VIEUX FARKA TOURÉ 10 | Sept 1 - Oct 7, 2015 thewholenote.com
The Silk Road Ensemble with Yo-Yo Ma principles and mandate to promote “collaboration and cultural exchange, performing music that links to the past, yet reflects our 21st-century global society, align seamlessly with our evolving music city.” It’s a view that meshes well with Toronto’s public and political persona as “one of the most diverse cities in the world.” Bassist Jeffrey Beecher: inside the SRE. Jeffrey Beecher is principal bassist with the Toronto Symphony Orchestra and serves on the faculties of the Glenn Gould School of the Royal Conservatory of Music and the University of Toronto. He also makes time to tour the world with the SRE and to perform with international orchestras. On August 13 the affable Beecher took a break from an orchestral gig in upper New York State to speak to me on Skype. I was curious about how and when he was invited to play with the SRE. “It was my sixth-degree-of-separation connection to some of the string players in the group that got me an invitation in 2004 to play with the SRE and then to tour with them.” It proved a satisfyingly collegial experience. “It certainly wasn’t an ordinary orchestral audition,” he mused “and I’ve been playing with them ever since!” I explored with Beecher the constellation of ideas which gave birth to the SRE, primarily couched in this article so far in the words of its founder Yo-Yo Ma. Ma’s celebrity draw is such that even today, 15 years into the ensemble’s successful career, his name often precedes appearances of the SRE on concert marquees. Interestingly, Beecher portrays a more complex internal dynamic that has evolved within the group. “Over the years the group has experimented with several leadership models. Though he is the artistic director, Yo-Yo Ma believes in flattened hierarchies.” It’s a sharing and supportive approach that applies to acquiring and adapting the bespoke repertoire for SRE’s multi-ethnic non-standard instrumentation as well. “It’s really on all of our shoulders. We players are as much witnesses to the creative process as recreators [in the usual classical music sense] in rehearsal and on stage. I’d say that every member of the ensemble has an opportunity to creatively contribute. I’m working on an arrangement [for SRE] right now.” For Beecher the combination of the different perspectives brought by musicians from diverse backgrounds culminates in real-time performances on stage. “Because we’re coming from so many musical backgrounds, such as represented by the [Galician] gaita, [South Asian] tabla, [Chinese] pipa and [Iranian] kamancheh, one key question for me regarding the evolution of our group is: in what directions do the musicians collectively want to take their music in 2015?” How does the SRE maintain such a unified, collective focus, I asked. “One of Yo-Yo Ma’s gifts is keeping many people and ideas in his mind at the same time,” he replied. “His attention, and the group’s, is not centrally located in one particular ethnic community, but rather it’s always mobile. I like to think of our model of music making as a caravanserai resting for one night and then moving on.” There’s that silk road metaphor again. As for the educational component of SRE’s work, the parent Silkroad organization has been affiliated with Harvard University since 2005, encouraging “dialogue among artists and musicians, educators and entrepreneurs, through mentorships and workshops,” as its website declares. This chimes with Ma’s objective of attaining a sustainable educational balance where science and the arts, critical and empathetic reasoning – qualities too often unbalanced in mainstream society – are linked in symbiotic harmony. SRE continues that mission during its September2015 Toronto residency – not that it hasn’t held workshops in the city before. Beecher reports that “last year we led a series of rewarding workshops with Regent Park School of Music students during the inauguration of the Aga Khan Museum.” Over the years the Aga Khan Trust for Culture has been an enthusiastic SRE supporter. For example, not only is it a partnering presenter of the SRE’s September 15 Massey Hall concert, but it is also hosting a music workshop at the Museum, inviting students from Massey Hall and Roy Thomson Hall’s Share the Music program. These lucky learners will participate in a special educational program at the Aga Khan Museum with the Ensemble the week of the performance. Yo Yo Ma’s Silk Road Ensemble has grown well beyond the model of a gigging musical ensemble, the breadth and scope of its vision eloquently articulated by its high profile cellist leader and gifted musicians. Already enjoying success today, the SRE is well positioned to continue to influence the course of future musical streams, an ambition only a very select few other musical groups have considered putting on their bucket lists. Andrew Timar is a Toronto musician and music writer. He can be contacted at worldmusic@thewholenote.com. thewholenote.com Sept 1 - Oct 7, 2015 | 11
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!).
