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.
Clara Schumann, Brahms
Clara Schumann, Brahms presented a threemovement work, but this was welcomed with scorn. Only in 1867 did a six-movement work receive a triumphant reception. The work’s profile only increased when a year later he added the aforementioned solo for soprano as part number five. It is a meditative piece, serious in its sorrow, yet lacking the transcendence of Fauré’s Requiem. The soloists become the pallbearers of this solemn mass, guiding the choral procession from the blessing of the suffering survivors to benediction of the dead. Despite being culled from the Old Testament and the Gospels, the text has been criticized for not being overtly religious. This speaks to Brahms’ humanistic, rather than religious, viewpoint. Both Ginia Kühmeier and Gerald Findley stun with their vocal performances, the latter entering a period of his life when his baritone voice moves into being defined as a bass. Robert Tomas Nielsen – Maskarade Milling; Reuter; Riis; Beck; Dahl; Andersen; Danish NSO & Choir; Michael Schonwandt dacapo SACD 6.220641-42 !! This remarkable recording of Denmark’s beloved “national opera” is a superlative tribute marking the 150th anniversary of the birth of composer Carl Nielsen (1865- 1931). Nielsen’s second opera, Maskarade, received its Copenhagen premiere in 1906, at a time when the composer was employed as a second violinist in the Royal Danish Theatre. Quite unlike the dramatic symphonies of his maturity, this is music of lightness and charm, immediately accessible and immensely enjoyable. The opera’s contrived comedy of mistaken identities serves as mere scaffolding for a libretto that revels in a peculiarly Danish sense of the absurd. Niels Jørgen Riis plays Leander, forced into a marriage with Leonora (Dénise Beck) by his buffoonish father Jeronimus (Stephen Milling). He eventually comes to realize during the celebrations at the masked ball that the disguised woman he truly desires is Leonora herself. Johann Reuter plays Leander’s servant Henrik, who also has his eye on Leonora’s servant, Pernille (Ditte Højgaard Andersen). The conductor Michael Schønwandt is a magisterial proponent of the score, a work he committed to memory at the age of ten. The studio-quality SACD recording is greatly enhanced by the superb acoustics of the new Danish Royal Koncerthuset. The orchestra, chorus and the cast drawn from the Royal Danish Opera are uniformly excellent throughout. A full libretto is provided; the English translation is identical to that of the newly edited score provided by the Carl Nielsen Project of the Music Department of the Royal Danish Library, freely available as a PDF download at bit.ly/1X2vvUO courtesy of the Danish Centre for Music Publication. Daniel Foley Widor; Vierne – Messes pour choeurs et orgues Les Petits Chanteurs du Mont-Royal; Les Chantres Musiciens; Gilbert Patenaude; Vincent Boucher; Jonathan Oldengarm ATMA ACD2 2718 !! Charles-Marie Widor (1844-1937) and Louis Vierne (1870-1937) were, respectively, organists at Saint-Sulpice Church and Notre Dame Cathedral. The recent Paris terrorist killings occurred not far from the churches where these works originated. During those dreadful days I felt particularly uplifted by this disc, for both the emotional resonances of the two great masses (along with six motets) and the youth and promise of the singers. There is freshness and confidence in the singìng of both boys’ and young mens’ choirs of Mont-Royal led by Patenaude, that is complemented wonderfully by Boucher’s great organ and Oldengarm’s small organ near the choir. On disc we cannot fully sense the spatial separation of the great organ from the rest in Montréal’s St. Joseph’s Oratory, yet the dynamic and timbral contrasts in the magnificently resonant acoustical space are effective indeed! Vierne’s Solemn Mass in C-Sharp Minor (the track list wrongly states F-Sharp Minor) opens with a Kyrie that felt a little stiff, but ended impressively. In the Sanctus, the affecting opening call in each of the choir’s four sections followed by the whole choir, the impassioned and even raw singing of the “Pleni sunt,” and captivating organ registration throughout were highlights. In Widor’s Mass for Two Choirs the excellent trebles of the Petits Chanteurs are heard to advantage in the Kyrie. In the Gloria there are interesting crossrhythms and other challenges, but the ensemble on the recording remains amazingly tight throughout. Roger Knox CLASSICAL AND BEYOND Mendelssohn – String Quartets Op.44 Nos.1&2 Cecilia String Quartet Analekta AN 2 9844 !! Having played these two quartets many times over the years and listening to them, one way or another, countless more times, I am still amazed at the enchanting influence Mendelssohn’s quartets hold over string players and their audiences. His penchant for combining beautiful melodies with the intricate underlying textures seems especially suited to the Cecilia Quartet, who bring out a weaving of the voices in the most enticing manner. Sonorous, youthfully energetic, refined and exuberant at the same time – all are characteristics of this recording, but what I was most impressed with was the element of subtle understatement that Cecilia Quartet mastered throughout. This ensemble did not put the emphasis on the most obvious elements of Mendelssohn’s music (though they are, of course, undeniable) but rather integrated it with the delicate texturing of phrasing and enunciation. The three quartets opus 44 were written within a year (1837-1838), at the most prosperous time of Mendelssohn’s life. The newly married composer began working on them on his honeymoon and the opening of the Quartet in D Major, Op.44 No.1 carries through the buoyancy and generosity of happiness discovered. Two middle movements are more classical in nature, while the finale brings out the spirited dance elements. Mendelssohn was the master of combining a sense of urgency with melancholy and such is the opening of the Quartet in E Minor, Op.44 No.2 in contrast to the sentimentality of the third movement. Cecilia Quartet is particularly adept at highlighting the nimbleness of the Scherzo with their impressive bow technique but they certainly don’t lack power in the final movement. Recommended to all the admirers of notes ingenious and pleasing. Ivana Popovic Concert Note: The Cecilia String Quartet is off on a European junkett in January with concerts in Switzerland, Norway and the United Kingdom, but returns to Toronto to perform the winning work of the String Quartet Composition Competition at the University of Toronto New Music Festival at Walter Hall on February 4. Liszt Inspections Marino Formenti Kairos 0013292KAI !! The magician of the keyboard, Franz Liszt started early and lived a long life playing, composing and experimenting. His son-in-law Wagner already blew apart traditional harmonies with Tristan, but Liszt introduced atonality for the first time (see Faust Symphony, first movement). Atonality of course later became the cornerstone of the Second Viennese School of Schoenberg, Webern and Berg and also the 74 | December 1 2015 - February 7, 2016 thewholenote.com
starting point of Italian pianist and conductor Mario Formenti’s remarkable journey: Liszt Inspections. Formenti selects over a dozen of Liszt’s less familiar pieces, played so sensitively that those alone would make this an attractive set to have, but that’s not his purpose at all. Instead he looks into various aspects (he calls it Vocabulary) of music common to both Liszt and a number of avant-garde composers and builds a well-argued thesis unearthing and proving these relationships. Each of the Liszt compositions illustrates one point of the Vocabulary (e.g. constructivism, sound, minimalism, death, remembering-forgetting, elimination of the metre, silence and more) and by this process he achieves two things: 1) proving Liszt’s genius and his vision into the future and 2) bringing a number of contemporary pieces into focus, highlighting them so the average listener who’d otherwise willfully reject new music is enticed to listen. I am willing to bet that the next time any of these composers’ music is played he will do so with interest. There are at least a dozen composers, like Adams, Berio, Kurtág, Ligeti, Rihm, Stockhausen etc., each with his own unique style that up to now I had considered so much noise and hogwash. In the shining light of Liszt these begin to shine as well. Nice achievement for Signor Formenti. Janos Gardonyi Brahms – Violin Sonatas; Schumann – Romances; FAE Sonata Isabelle Faust; Alexander Melnikov harmonia mundi HMC902219 !! Isabelle Faust has become famous for her performances on a gut-strung 1799 Strad that in almost every case have become models of period performance practice successfully extended into works of the mid-19th century. To today’s ears, her return to the more intimate, late romantic values could sound reticent with her unusually delicate, lean tone, very simple and deeply penetrating. Her recent Schumann piano trio recordings are shining examples of her persuasive approach, with its chaste, almost textured tone. She had already recorded Brahms First Violin Sonata (HMC901981) and this new disc once again features the like-minded approach of Alexander Melnikov playing his own 1875 Bösendorfer which can hardly be mistaken for the more recent instrument to which we have become attuned. The employment of this earlier practice versus the more viscerally robust esthetic of today’s Brahms is illuminating. Here Brahms is speaking rather than being spoken about. Melnikov has a rare affinity to perform Brahms and he and Faust are of one mind. The Schumann pieces are wonderfully poetic, leaving no doubt that they have the exact measure of this gentle, tragic composer. The unusual F.A.E. Sonata is a four-movement work written in 1853 by Albert Dietrich, Schumann and Brahms for violinist Joseph Joachim to identify the composer of each movement. He had no trouble doing so. The flawless sound places the listener about five rows back, at which point the two instruments are correctly balanced. This very successful album is most enthusiastically recommended. Bruce Surtees Saint-Saëns – Complete Violin Concertos Andrew Wan; Orchestre Symphonique de Montréal; Kent Nagano Analekta AN 2 8770 !! Even though Camille Saint-Saëns was an exceptionally prolific composer, it seems that his temperament was especially suited to the form of the solo concerto, allowing him to blend virtuosity (which he held in high regard) with the wealth of his musical ideas. He also had a special fondness for the violin, especially after meeting Pablo de Sarasate (the 19th century violin superstar) to whom he dedicated his first and third violin concertos. It comes as no surprise that Andrew Wan, another violin superstar (though from an entirely different era) and one of the youngest concertmasters of a major symphony, has performed and recorded Saint-Saëns’ complete violin concertos with the Orchestre Symphonique de Montréal, the very orchestra he leads. This certainly has an advantage point – the soloist and the orchestra have an astonishing rapport on this recording. Captured here are live recordings from a series of concerts held at Maison symphonique de Montréal in November 2014. It is no small accomplishment to be able to perform all three concertos, as they are not only technically demanding but also ask of the soloist to be both versatile and flexible in their interpretation. Andrew Wan stands up to this task easily and fiercely – while technically superb in the live performances, he captures his audiences even more with his passion and the constant changes of sound colour. The first two concertos have been unfairly neglected on the concert stage – they are every bit as exciting and expressive as the third one – but this recording just may change that. Ivana Popovic Rachmaninov Variations Daniil Trifonov; Philadelphia Orchestra; Yannick Nézet-Séguin Deutsche Grammophon 4794970 !! How appropriate that a pianist by the name of Daniil Trifonov would record a disc of music by Sergei Rachmaninov plus a composition of his own titled Rachmaniana. To be honest, I was unfamiliar with his name, but it seems this 24-year-old already has more than a few feathers in his cap. Not only has he been the recipient of numerous prizes, including first prize in the prestigious Arthur Rubinstein competition, but he is making a worldwide name for himself. In this recording – his sixth – he has teamed up with Canadian conducting superstar Yannick Nézet-Séguin and the Philadelphia Orchestra, resulting in a fusion of two great artists. There are innumerable recordings of the Rachmaninov Paganini Variations, but this is surely one of the finest. Trivonov’s flawless technique is matched throughout by the Philadelphia Orchestra’s full-bodied and robust sound. The variations literally fly by the listener in rapid succession, each a musical microcosm, notwithstanding the poetic and familiar No.18 which is treated with the heartfelt lyricism it so deserves. Both soloist and orchestra make ease of the enormous technical demands presented in the variations leading to the tumultuous finale, doing so with a sense of strong self-assurance. Rachmaninov’s Variations on a Theme by Chopin Op.22 are based on the familiar Prelude Op.28 No.20. Trifonov approaches the music with great sensitivity, deftly capturing the kaleidoscopic moods of the 22 movements. His own set of variations, Rachmaniana, was written out of homesickness for his native Russia while temporarily residing in the U.S. While there is much originality within the score, the style also draws from Rachmaninov’s own musical idiom – the work opens in a quietly introspective manner, but the finale is a burst of technical exuberance. The familiar Variations on a Theme of Corelli predate the Paganini Variations by only three years. Despite the myriad of moods conveyed within, Trifonov creates a unified whole, demonstrating intelligence and an innate musicality for this most demanding repertoire. While a Russian artist performing Russian music doesn’t always guarantee a stellar performance, in this case it did – this recording is bound to be a benchmark. Richard Haskell Satie; Poulenc – Le comble de la distinction David Jalbert ATMA ACD2 2683 !! Francis Poulenc (1899-1963), composer and pianist, was a man of many contradictions, perpetually thewholenote.com December 1 2015 - February 7, 2016 | 75
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!).
