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.
a semi-tone from
a semi-tone from present-day pitch. Haimovitz says that “with humility, and no small dose of courage, I continue on my journey with Bach and The Cello Suites, studying the gospel according to Anna Magdalena.” I just hope he continues to take us along with him. Following her solo recital disc and CDs of the Dvořák, Elgar and Carter cello concertos the latest CD from American Alisa Weilerstein – Rachmaninov & Chopin: Cello Sonatas (Decca 478 8416) with the New York-based Israeli pianist Inon Barnatan shows just how much she has to offer in the chamber music field. From the opening bars of the Rachmaninov Cello Sonata in G Minor, Op.19 it’s clear that this is going to be gloriously expansive playing from both performers. Barnatan is simply superb at the keyboard, with a beautifully judged use of legato in the long, flowing Rachmaninov phrases, and Weilerstein displays the qualities so often mentioned in reviews of her playing: technique, passion and intensity. It’s a captivating and engrossing performance. The high standard continues through the Vocalise, Op.34 No.14 to the Chopin Cello Sonata in G Minor, Op.65, written mostly during the composer’s last summer on his lover George Sand’s estate in Nohant. The first movement in particular clearly gave Chopin a great deal of trouble and was dropped for the premiere performance. It’s a strong, turbulent work very similar in mood to the Rachmaninov, and the two make an ideal pairing here. The sonata was dedicated to the French cellist Auguste Franchomme, who gave the first (albeit truncated) performance in 1848 in Chopin’s final public concert. It was Franchomme who arranged the Étude in C-Sharp Minor, Op.25 No.7 for cello and piano, one of two shorter Chopin works on the CD. The Introduction & Polonaise Brillante in C Major, Op.3 dates mostly from Chopin’s youth – the Introduction was added later for Franchomme – and provides a lovely end to a truly beautiful CD. ` The Sibelius & Nielsen Violin Concertos make an excellent and natural pairing on the new 2-CD set from Latvian violinist Baiba Skride, with Finland’s Tampere Philharmonic Orchestra under Santtu-Matias Rouvali (Orfeo C 896 152 A). Both composers were born in 1865; both were violinists; both became the leader of their respective country’s Nationalist musical movement; and the concertos were written within a few years of each other in the first decade of the 20th century. Skride is terrific in the Sibelius, with her rather fast and somewhat narrow vibrato providing a steely edge to the lush tone and phrasing and giving the work a real Nordic feel. The Two Serenades for Violin and Orchestra Op.69 complete the first disc; written in 1912-13, they are not heard all that often and are a welcome addition here. The Nielsen concerto is a lovely work that should really be more widely known; indeed, Nielsen’s music in general has never quite gained the recognition outside of his native Denmark that it deserves. In this case it may be the length and shape of the work that’s to blame: it’s almost 40 minutes long, and although ostensibly in four movements is actually in two sections, with the brief first and third “movements” – the latter the only slow movement – acting more as introductions for each half. Also, the simply glorious theme that appears after the brief flourish at the beginning of the work never reappears, and nothing else quite matches it. The performance here is outstanding, though. Although leaving the group within eight years of its inception in 1992 the Brentano String Quartet’s founding cellist, Michael Kannen, continued his association with the ensemble, joining them on second cello in numerous performances of Schubert’s String Quintet in C Major D956 over the years, always harbouring the hope that he would be able to record it with them one day. In September 2014 his wish came true in a quite exquisite way when the Brentano Quartet decided to make a live recording of the work at Amherst College in Massachusetts. An interactive weekend was built around three performances over three days, and the result was the new CD Schubert Quintet Live! (Azica ACD-71304). The booklet notes include fascinating reflections on the recording challenges by Alan Bise, the producer and mix engineer for the project, as well as reflections on the performances by Kannen and violinist Mark Steinberg. Bise says that any minor blemishes had to be left in where fixing them would spoil the musical feel of a section, but he notes that “the energy and spirit represented here are almost impossible to capture in a closed recording session without an audience.” Other than the applause at the end there is very little to signify the physical presence of an audience, but the energy and spirit that Bise noted, and that they helped to create, clearly make a major contribution to the emotional effect of the music. It is indeed a wonderful performance of one of the greatest works in the chamber music repertoire. The outstanding Hyperion series The Romantic Cello Concerto reaches Volume 7 with works by the German composer and cellist Wilhelm Fitzhagen (1848-1890), featuring cellist Alban Gerhardt and the Deutsches Symphonie-Orchester Berlin under Stefan Blunier (CDA68063). Fitzhagen was apparently mostly self-taught as a composer, but his two concertos for his instrument are solid, competent and attractive works very much in the German style of the period. The Concerto No.1 in B Minor, Op.2 and the Concerto No.2 in A Minor, Op.4 “Fantastique” are both early works, from 1870 and 1871 respectively, round about the time that Fitzhagen became professor of cello at the Imperial Conservatoire in Moscow. The First Concerto is a short work in three movements played without a break; a dazzling and challenging cadenza at the end of the first movement leads into a very brief (just over three minutes) but lyrical and simply beautiful Andante. The Second Concerto is also quite short, but again displays Fitzhagen’s fluently melodic style. The central track on the CD is Tchaikovsky’s Variations on a Rococo Theme Op.33 from 1877. On moving to Moscow Fitzhagen had quickly established himself as a cellist and soon came to know Tchaikovsky, who dedicated the Variations to Fitzhagen and sent him the manuscript for his comments. The cellist went a good deal further, making cuts and tempo changes, adding his own passages and changing the order of three of the variations. Somewhat reluctantly, Tchaikovsky let the radically altered version stand, and it is the work for which Fitzhagen is most remembered. Fitzhagen’s Ballade – Concertstück Op.10, a single-movement work which is longer than the First Concerto, and Resignation – Ein geistliches Lied ohne Worte Op.8, a very brief but simply lovely piece, round out the CD. Alban Gerhardt has been the soloist on five of the seven releases in this terrific series that never fails to delight and impress, and he is once again in his element with this music. Shades & Contrasts is a quite stunning debut CD from the Norwegian guitarist Christina Sandsengen (Odradek ODRCD326 odradek-records.com). Standard works by Albéniz, Tárrega, Aguado and Agustin Barrios Mangoré are mixed with contemporary works by Sven Lundestad, Carlo Domeniconi and Egberto Gismonti in a varied and highly impressive recital. These are outstanding performances, delivered with a flawless technique and sumptuous 72 | December 1 2015 - February 7, 2016 thewholenote.com
tone. Expect to hear a lot more of this artist. The English composer Nigel Clarke (b.1960) is featured on Music for Thirteen Solo Strings, a new CD from Toccata Classics with the 13-member string ensemble Longbow under the direction of violinist Peter Sheppard Skærved (TOCC 0325). Clarke and Skærved have enjoyed a close collaboration for almost 30 years. Their shared interest in music for divided strings (as opposed to string ensembles working in sections) led to Parnassus for Thirteen Solo Strings in 1986. It’s music that sounds a bit chaotic at first, but soon bears out Skærved’s observation that the frictional interchange between adjacent players playing contrary but related material can produce a sort of ensemble “fire-making” that generates a good deal of instrumental energy; there’s energy here in abundance. The other four works on the CD are all from the past three years, two of them the result of an artistic collaboration with Dover Arts Development in Clarke’s home county of Kent and two of them tributes to Edith Cavell, the English nurse shot by the Germans in the First World War. Dogger, Fisher, German Bight, Humber, Thames, Dover, Wight, for Speaker, Thirteen Solo Strings and Sound Design is described as a diptych, Clarke’s music being preceded by a lengthy poem sketching Dover’s history written and delivered by Skærved’s wife, the Danish writer Malene Skærved. The title will have immediate meaning for anyone who has ever listened to the Shipping Forecast on BBC Radio; the seven names are of the sea areas from off the eastern coast of England, around the southeast corner and along the south coast past Dover. The music has clear – and self-confessed – references to sea music, including Britten’s Four Interludes from Peter Grimes and Debussy’s La Mer. The Navy Hymn (Eternal father, strong to save) emerges from the chaos of a storm to guide the piece to a serene and mostly tonal ending. Pulp and Rags, also linked to a Malene Skærved poem (not quoted), was inspired by the machinery in Buckland Paper Mill, an old mill near Dover that closed in 2000 after 230 years. The Scarlet Flower for Flugel Horn and Thirteen Solo Strings features soloist Sébastien Rousseau in a work written as a memorial to Edith Cavell, the opening horn solo later being reworked for solo muted violin as Epitaph for Edith Cavell, with which Skærved closes an intriguing disc. The New Goldberg Variations, a CD from the Australian duo of composer/pianist Joe Chindamo and violinist Zoe Black (Alfire Records ALFI15002) is described as “J. S. Bach’s original and complete Goldberg Variations with a newly composed counterpart for violin.” The violin part was written by Chindamo at Black’s request, and Chindamo says that the only self-imposed rule was that he would not alter a single note Bach wrote, and that he would adhere to Bach’s language and aesthetic. The first Variation offers a continuous violin line as opposed to an occasional commentary, and from then on there’s a tendency for the violin to become the primary listening focus, although it does assume a background role quite often. One thing is clear – any misgivings you may have about the project are certainly not the result of any lack of quality in the writing or playing of the violin part; both are done with consummate skill. It’s all beautifully played, with a clean, bright and warm violin sound, and plenty of thoughtful keyboard work which, ironically, made me want to hear what Chindamo would do with the original Goldberg Variations on his own. Purists may well object – imagine listening to Glenn Gould’s recordings and then saying “Yeah – I think I’ll write a violin part…” – but it is well-written, sympathetic and imaginative. However – and here’s the rub – it really is a different, collaborative work now, not merely an added commentary on the original; indeed, the CD cover shows Bach – Chindamo as the joint composing credits. It certainly makes for highly enjoyable listening, but whether or not it will ever be accepted as a bona fide concert work is open to question – and an interesting one at that. VOCAL Mozart – Davide Penitente Académie équestre de Versailles; Bartabas; Mozartwoche Salzburg; Les Musiciens du Louvre; Marc Minkowski Cmajor 7331608 !! Mozart’s Davide Penitente dates from 1785. It is a reworking of the Mass in C Minor, K427, but with two newly composed arias for the soprano and the tenor who had sung in the premiere of The Abduction from the Seraglio. The practice of staging works which were never meant to be staged is now quite common but there is a difference here: the soloists, the instrumentalists and the choir (all very good) perform the work as an oratorio, while the acting is done by horses and their riders, who move rhythmically to Mozart’s music as choreographed by Bartabas. There are 12 horses, fine-looking animals. They all have names and receive equal billing with the musicians. A nice touch that. The soloists are soprano Christiane Karg, mezzo Marianne Crebassa and tenor Stanislas de Barbeyrac. There is an error in the booklet which states that both the arias Lungi le cure ingrate and Tra l’oscure ombre funeste are performed by the mezzo. She sings the first aria but it is the soprano who performs the second.This version of Davide Penitente was first performed in the Felsenreitschule in Salzburg in January of this year. It was a great success. I imagine that if I had been present in Salzburg last January, I might well have been swept up in the excitement. Just seeing the DVD was a bizarre experience however, and if I want to hear the work again I am likely to go back to the CD in which it is performed by La Petite Bande, conducted by Sigiswald Kuijken (on Deutsche Harmonia Mundi). Hans de Groot Concert Note: The Toronto Symphony Orchestra presents Mozart’s Requiem (completed by Robert D. Levin) in a semistaged version featuring Lydia Teuscher, soprano; Allyson McHardy, mezzo; Frédéric Antoun, tenor; Philippe Sly, bass-baritone; with the Amadeus Choir and Elmer Iseler Singers at Roy Thomson Hall on January21, 22 and 23. Brahms – Ein Deutsches Requiem Kühmeier; Finley; Netherlands Radio Choir; Royal Concertgebouw Orchestra; Mariss Jansons RCO Live RCO 15003 !! Although Requiem, a funeral mass, is most commonly associated with Mozart (who died before finishing his own setting) most versions of Requiem were rarely written in the shadow of a musician’s impending death. True, Verdi composed his relatively late in life at 60, but he lived for another 27 years. In fact, most composers were very young when they took on this heavy subject. Berlioz, Bruckner, Cherubini, Delius, Duruflé, Dvořák, Fauré, Michael Haydn and Reger all composed either Roman Catholic or Protestant Requiems. Ein Deutsches Requiem stands out because of its superb choral writing, incomparable soprano aria Ihr habt nun Traurigkeit and the moving baritone solo parts in the third and sixth movements. Brahms, only 23 when he started crafting the work, resumed composition after his mother’s death. Encouraged by thewholenote.com December 1 2015 - February 7, 2016 | 73
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!).
