Views
3 years ago

Volume 21 Issue 3 - November 2015

  • Text
  • November
  • Toronto
  • Jazz
  • Arts
  • Symphony
  • Orchestra
  • Musical
  • Theatre
  • Choir
  • Performing
  • Volume
"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!

FOR OPENERS | DAVID

FOR OPENERS | DAVID PERLMAN Neighbourhoods of the Musical Heart Sometimes a detail from one of the stories or columns in the magazine leaps off the page, grabs my heart, and makes my job of penning this Opener much easier. This time it was a a tiny detail – the caption to a joyous photograph at the top of Paul Ennis’ Classical and Beyond column. Dang Thai Son and Yike (Tony) Yang at the end of the 2015 Chopin Competition it reads. What grabbed me wasn’t the name of 16-year-old Toronto high school student Yike (Tony) Yang who came seemingly out of nowhere to take fifth place in the world’s most prestigious Chopin competition in Warsaw. It was the joy on the face of the man hugging him – Dang Thai Son, described in the column as “one of Yang’s teachers.” Dang Thai Son, you see, was on the cover of The WholeNote in February 2000, in the context of what he called “my real Toronto debut” at Women’s Musical Club of Toronto. That February 2000 Toronto recital was 20 years after he had “burst seemingly out of nowhere, onto the world stage in 1980, when he was awarded the First Prize Gold Medal at the tenth Chopin Piano Competition in Warsaw.” Lots of the details of that story are still clear in my mind, but I hunted out the issue and re-read it. (You can follow his 30-year journey from Saigon to Hanoi, then Moscow, Tokyo and Montreal yourself, by the way. If you go to thewholenote.com/previous you will discover a complete digitized flip-through archive of every magazine in our 20-year history, handily shelved.) But one crucial detail in the story I had completely forgotten, from the time Dang Thai Son was still a youth in Hanoi: “In 1974 a visiting Russian pianist Isaac Katz heard the 16-year old play, and made it his business to get him to Moscow – to the Moscow State Tchaikovsky Conservatory.” There is such a huge arc of time captured in that photograph: from Isaac Katz in 1974 making the musicianship he saw in 16-year old Dang Thai Son “his business”; to Dang the teacher’s joy at Yike (Tony) Yang’s 2015 triumph. It’s nice to think that without the “sheer plod” of documenting, month in and month out, the simple heartbeat of our musical neighbourhoods, such sweet coincidences, with their capacity to make our hearts soar and sing, might well simply be lost in the mists of time. The WholeNote VOLUME 21 NO 3| NOVEMBER 1, 2015 – DECEMBER 7, 2015 Centre for Social Innovation 720 Bathurst St., Suite 503, Toronto ON M5S 2R4 PHONE 416-323-2232 | FAX 416-603-4791 Publisher/Editor In Chief | David Perlman publisher@thewholenote.com Chairman of the Board | Allan Pulker directors@thewholenote.com EDITORIAL Managing Editor | Paul Ennis editorial@thewholenote.com Recordings Editor | David Olds discoveries@thewholenote.com Social Media Editor | Sara Constant editorial@thewholenote.com Listings Editor | John Sharpe listings@thewholenote.com Club Listings Editor | Bob Ben jazz@thewholenote.com SALES, MARKETING & MEMBERSHIP Concerts & Events/Membership | Karen Ages members@thewholenote.com Record Industry Sales/Marketing | Thom McKercher thom@thewholenote.com Directory Sales and Services | Adrienne Surtees adrienne@thewholenote.com Advertising/Production Support/Operations Jack Buell | adart@thewholenote.com Classified Ads | classad@thewholenote.com Website/Systems | Bryson Winchester systems@thewholenote.com Website/Systems Support | Kevin King kevin@thewholenote.com Circulation/Subscriptions | Chris Malcolm circulation@thewholenote.com SUBSCRIPTIONS per year + HST (9 issues) THANKS TO THIS MONTH’S CONTRIBUTORS Beat Columnists Hans de Groot, Jack MacQuarrie, Brian Chang, David Olds, David Podgorski, Wendalyn Bartley, Bob Ben mJ buell, Andrew Timar Features Christopher Hoile, David Jaeger, David Perlman, Ori Dagan, Paul Ennis CD Reviewers Alex Baran, Andrew Timar, Bob Ben, Bruce Surtees, Daniel Foley, Dianne Wells, Hans de Groot, Janos Gardonyi, Ken Waxman, Lesley Mitchell-Clarke, Richard Haskell, Robert Tomas, Roger Knox, Stuart Broomer, Terry Robbins, Tiina Kiik, Wendalyn Bartley Proofreading Vanessa Wells, Jennifer Liu, John Sharpe, Paul Ennis Listings David Perlman, Bob Ben, Tilly Kooyman, JennieLea McLeish, Ruth Atwood, Simone Desilets, Jennifer Liu Circulation Team Abram Bergen, Andrew Schaefer, Beth Bartley, Bob Jerome, Dagmar Sullivan, Dave Taylor, Garry Page, Gero Hajek, Jack Buell, Jeff Hogben, Joan Andrews, John Dodington, Lorna Nevison, Mark Clifford, Micah Herzog, Niamh Malcolm, Patrick Slimmon, Paul Ennis, Randy Weir, Robert Faulkner, Sharon Clark, Tiffany Johnson, Tom Sepp, Vicki Stainton, Wende Bartley Layout & Design Bryson Winchester an Ontario government agency un organisme du gouvernement de l’Ontario Upcoming Dates & Deadlines Free Event Listings Deadline 6pm Sunday November 8 Display Ad Reservations Deadline 6pm Sunday November 15 Classifieds Deadline 6pm Monday November 23 Advertising Materials Due 6pm Friday November 18 Publication Date Friday November 27 (Online) Tuesday December 1 (Print) Volume 21 No 4 covers December 1, 2015 to February 7, 2016 WholeNote Media Inc. accepts no responsibility or liability for claims made for any product or service reported on or advertised in this issue. Printed in Canada Couto Printing & Publishing Services Circulation Statement November 2015: 30,000 printed & distributed Canadian Publication Product Sales Agreement 1263846 ISSN 14888-8785 WHOLENOTE Publications Mail Agreement #40026682 Return undeliverable Canadian addresses to: WholeNote Media Inc. Centre for Social Innovation 503–720 Bathurst Street Toronto ON M5S 2R4 COPYRIGHT © 2015 WHOLENOTE MEDIA INC thewholenote.com 6 | Nov 1 - Dec 7, 2015 thewholenote.com

Do we repeat ourselves? Very well, then, we repeat ourselves. The way we work around here, our individual columnists usually function pretty autonomously within their beats. They seldom have access, in deciding what to cover, to information about what other writers have also decided to cover. Editorially we attempt to avoid complete trainwrecks (i.e. such as when writers’ individual trains of thought go barrelling down exactly the same track from opposite directions). But more often than not, our reasoning is that if two writers covering different beats find themselves interested in the same story, that’s something of value for our readers to know, because it suggests that the musical item in question has escaped the pigeonhole one might normally consign it to. Andrew Timar in his World View column this month, for example, talks about something he calls “hybridity” – which I understand to be a rigorous and ethical alternative to cultural appropriation. David Dacks, artistic director of the Music Gallery explains the distinction succinctly in Timar’s column: “If one is attempting to join culture A to culture B in a coherent musical statement, one must be really attuned to power relationships, comparative structures/forms/tuning/language, your own personal experience and other points of connection or difference between musical ingredients one is working with.” Is something of the same force at work when beat writers, normally overlapping very little in their interests, find themselves drawn from different directions, like moths, to the same musical candle? Academy Concert Series 43 Acclarion Records 67 Adam Sherkin 35 ArtsMedia Projects 60 ATMA 5, 67 Aurora Cultural Centre 39, 42, 50 Bach Children’s Chorus 24 Beth Anne Cole 37 Cantemus Singers 25 Cathedral Bluffs Symphony Orchestra 39 Choirs Ontario 39 Christ Church Deer Park Jazz Vespers 55 City of St. Catharines 54 Claude Watson Secondary Arts Program 21, 51 Don Wright Fac Mus/ Western U 53 Eglinton St. George’s United Church 51 Elizabeth Krehm Memorial Concert 40 Ellen Waterman 67 Elmer Iseler Singers 48 Esprit Orchestra 15, 40 Exultate Chamber Singers 48 INDEX OF ADVERTISERS Galen Weston / The Rose Room 31, 45 Greater Toronto Philharmonic Orchestra 44 Group of 27 36 Horizon Tax 60 Jubilate Singers 47 Kira Braun 42 Lark Ensemble 35 Liz Parker 60 Long & McQuade 30 Massey Hall/RTH 38, 46, 80 MasterPerforming 60 Masterworks of Oakville Chorus & Orchestra 42 McGill Symphony Orchestra 13 Mississauga Festival Choir 49 Mississauga Symphony 43 Mozart Project 41 Music at Metropolitan 36 Music Gallery 18 Music Toronto 9, 35, 38, 45 Musicians in Ordinary 45 Nagata Shachu 29, 46 Naxos 63, 75 Neapolitan Connection 47 New Music Concerts 37, 51 Watch for the tendency as you read. Chances are, something special’s going on! Examples? Watch how David Virelles’ Gnosis shows up in Timar’s column and in Wende Bartley’s In with the New. And how Timar’s reference to Jane Bunnett in the context of discussing Bunnett’s role in Virelles’ musical lif resonates with Ori Dagan’s story “Jane’s Day, Jane’s Way,” which charts some of the reasons that Bunnett is this year’s worthy winner of the Premier’s Award for Excellence in the Arts. Congratulations, Jane. Masterpiece means what? As a Facebook RRRR (relatively recent regular reader) it still intrigues me to see which posted topics push people’s buttons enough to get them to comment. One such recent thread came from a musician/ teacher I have a particular interest in, wondering out loud how to explain to her students what a “masterpiece” is. It elicited a large volume of responses, most of which took the form of naming particular works which, in the opinion of the commenter, were worthy of the designation. In my way of thinking that is analogous to responding to the question “what is a forest?” by rhyming off the names, or even individual locations of a whole bunch of trees. My own response was along the lines that a masterpiece is a work where if you don’t get it, the problem is more likely to be with you than with it. What do you think? I can be disgreed with, or enlightened, at publisher@thewholenote.com Nine Sparrows Arts Foundation 37 NUMUS Concerts 18 Ontario Christian Music Assembly 49 Ontario Philharmonic 43 ORIANA Women’s Choir 44 Ottawa Bach Choir 39 OUR Recordings 63 Pasquale Bros. 59 Pax Christi Chorale 23, 50, 62 Peter Hum 75 Poculi Ludisque Societas 36 Remenyi House of Music 17 Royal Conservatory 44, 79 Scarborough Philharmonnic 46 Show One Productions 4, 49 Sound Post, The 31 Soundstreams 11 St. James’ Cathedral 19, 50 St. Michael’s Choir School 49 St. Olave’s Church 47 St. Philip’s Jazz Vespers 34, 55 Steinway Piano Gallery 10 Sultans of String 75 Tafelmusik 2, 3, 36, 48 Tallis Choir 47 Tapestry Opera 41 That Choir 25, 38 Toronto Classical Singers 50 Toronto Concert Orchestra 46 Toronto Consort 11, 27, 39 Toronto Mendelssohn Choir 24, 44 Toronto Symphony 38, 41, 77 Toy Piano Composers 43 Trio Arkel 38 U of T Faculty of Music 41, 42 Unitarian Congregation in Mississauga 44 Village Voices 25 Windermere String Quartet 40 Women’s Musical Club of TO 41 Wychwood Clarinet Choir 51 Yorkminster Park Baptist Church 20, 49 16 BLUE TH Annual PAGES DON’T EVER STOP MUSIC IS FOR LIFE THE BLUE PAGES A rich resource for musicians and all lovers of live music, with detailed profiles of Southern Ontario’s live music makers and their 2015/16 seasons. Printed in October WITH UPDATES IN THIS ISSUE and year-round at thewholenote.com. Inquiries to members@thewholenote.com THE CANARY PAGES The WholeNote’s annual guide to the extraordinary choral diversity of Southern Ontario. Find yourself the right choir anytime! Printed every year in May but searchable online year-round. Inquiries to canary@thewholenote.com THE GREEN PAGES GUIDE TO SUMMER MUSIC Our 2015 enhanced coverage remains online for year-round browsing and dreaming of next summer. Updated and printed in our Summer (June, July, and August, 2016) edition. Inquiries to summer@thewholenote.com Musical guides online, all the time thewholenote.com/ resources thewholenote.com Nov 1 - Dec 7, 2015 | 7

Volumes 21-24 (2015-2018)

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

Volumes 16-20 (2010-2015)

Volumes 11-15 (2004-2010)

Volumes 6 - 10 (2000 - 2006)

Volumes 1-5 (1994-2000)