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.
voice. Zeisl
voice. Zeisl (1905-1959), a Jew, fled his native Austria in 1938 and wound up composing film scores and concert works in Hollywood. This CD will appeal to those interested in little-known but rewarding 20th-century repertoire (the Wellesz) and, of course, to Renée Fleming’s justifiably innumerable fans (including me). Michael Schulman Krzysztof Meyer – Piano Quartet; Piano Quintet Piotr Salajczyk; Silesian String Quartet Naxos 8.573357 !! Polish composer and pianist Krzystof Meyer (b.1943) is new to me but not to my Baker’s Biographical Dictionary (7th ed. [1984], rev. Nicolas Slonimsky), which says his “musical intelligence and acoustical acuity are of the rarest quality.” Based on this CD I concur heartily. The extended, single-movement Piano Quartet (2009) is an unusually formed work. To my ears, imaginative process and compelling content are equally involved. Declamation, dialogue, perpetual motion, stasis and recurrence are prominent yet unpredictable modes of presentation. To be sure there is considerable dissonance, yet the tonal centre and interval structure are clear. Passionate expressiveness of three Silesian String Quartet players complements pianist Salajczyk`s virtuoso performance. The Piano Quintet (1990-91) is a larger work in the traditional four movements. Its opening establishes a severe but still tonal musical language based on hierarchy of pitches. In the second movement I was especially taken by Meyer’s mastery of the midand late-twentieth century vocabulary of sound and texture, even though he does not use extended instrumental techniques. Throughout, the quartet and Salajcyzk never falter in ensemble, tone quality or dynamic control. Triplets in the more lively third movement suggest a vestigial scherzo; as perhaps also do sudden outbursts and high, scratchy strings. I enjoyed also the last movement’s drama and variety of effects – ornamental scrambles around main pitches, high dissonant bells in the piano and closing silences interrupted by retreating pizzicato whispers. Roger Knox Frederic Rzewski – The People United Will Never Be Divided; Four Hands Ursula Oppens; Jerome Lowenthal Cedille CDR 90000 158 !! The first time I heard Ursula Oppens perform was in a masterclass of Rosina Lhevinne at the Juilliard School in New York. Ursula and I were both students of the legendary Mme Lhevinne. Listening to this CD I remember the lovely and rich tonal colours Oppens had in her classical repertoire. I am delighted to find the same lyrical palette in the Rzewski. It is so easy to make some of the Rzewski variations harsh and brittle. This is not the first recording Ursula Oppens has made of this work and this CD is far more reflective and poignant. There is a fluidity that connects the disparate movements. Rzewski gives many instructions to the pianist and each variation comes with informative titles: “with determination, delicate but firm, tenderly, in a militant manner,” and so on. In this performance each different style, whether folkloric, jazzy or lyrical does unite with sensitive and intuitive musicianship. Technically it is brilliant playing. From pounding chords to effervescent riffs of extreme delicacy Oppens is in control and commands the keyboard. There are numerous recordings of this work but this CD is definitely in a class by itself. For Rzewski’s piano duo work Four Hands, pianist Jerome Lowenthal, a Juilliard faculty member, joins Oppens. Their touch on the piano is so unified that it sounds like one pianist. It is a quirky piece with lovely moments and this work deserves more performances. However, this duo piano team would be difficult to improve on. Excellent performances. Highly recommended CD. Christina Petrowska Quilico JAZZ AND IMPROVISED MUSIC Clear Day Emilie-Claire Barlow; ECB Band; Metropole Orkest; Jules Buckley eOne eCD-CD5841 (emilieclairebarlow. com) !! Arguably, multiple-awardwinning jazz vocalist, Emilie-Claire Barlow, is one of the finest singer/musicians that Canada has ever produced. Blessed with an impressive musical genome, Barlow has consistently challenged herself, all the while continuing to mature into the impressive and accomplished artist that she is today. With her 11th recording, Barlow has partnered her stunning voice and arranging skills with the world-renowned Metropole Orkest conducted by Jules Buckley. Barlow and Steve Webster act as producers here, and the eclectic program is comprised of material from the unlikely musical bedfellows of Pat Metheny, Coldplay, Brad Mehldau, David Bowie, Joni Mitchell, Canadian pianist/ composer Gord Sheard and more. Described by Barlow herself as a “personal journey over the last four years,” this recording is a portrait of the artist as a mature women poised at the full apex of her skill, talent, inspiration and power. Also included in this recording are arrangements featuring Barlow’s excellent band, with Reg Schwager on guitar, Jon Maharaj on bass, Chris Donnelly on piano, Larnell Lewis on drums and Kelly Jefferson on reeds. The CD opens with the spacious and magical Amundsen by noted bassist/ composer Shelly Berger, which segues seamlessly into a dynamic and fresh arrangement of the near title-song, Burton Lane’s On a Clear Day. Other impressive tracks include a tender, string-laden take on Coldplay’s Fix You and a sensual, jazz-infused version of Paul Simon’s Feelin’ Groovy (replete with a masterful guitar solo from Schwager). Of special note is Barlow’s arrangement of Joni Mitchell’s I Don’t Know Where I Stand, sung here with the soaring, crystalline purity of her magnificent vocal instrument. Lesley Mitchell-Clarke Your Mess Melissa Lauren Independent ML2015 (melissalaurenmusic.ca) !! Melissa Lauren is a prolific young songwriter and she has released her second album of (mostly) original songs in three years. Lauren collaborated on songwriting and production for Your Mess with Toronto bassist Mark Cashion. The album is about the chaos and heartbreak of life as we stumble our way through and despite such relatively serious themes the songs are mostly upbeat and playful. The album opens with two songs – Room is Too Small and Walk Behind Me – that have an air of the 50s and 60s about them as Lauren adds a bit of gutsiness to her delicate, pretty voice. The title track is given a sort of New Orleans style with swampy effect courtesy of guitarist Eric St-Laurent and Sly Juhas on drums. The album is sparingly produced with guitar, bass and drums in various combinations being the main accompaniment, but guitarist Nathan Hiltz breaks out the uke and gets strummy for the bouncy Houses which is all about being content with your current situation and which suits Lauren’s voice to a T. There is a sprinkling of covers on Your Mess and the band’s gorgeous slowed-down take on the Police tune Every Little Thing He Does is Magic is a highlight. Cathy Riches Concert Note: Melissa Lauren will be performing a holiday show on December 10 78 | December 1 2015 - February 7, 2016 thewholenote.com
at 120 Diner, a relatively new jazz room on Church Street in Toronto. What Goes On Andrea Superstein Cellar Live CL073015 (andreasuperstein.com) !! The young Montreal-born, Vancouver-based chanteuse faced a big challenge to improve on her stellar EP, Stars. With talent in spades, Andrea Superstein not only made great strides, but has slipped in a rather memorable sophomore album with What Goes On. Twice as long as Stars, this noirish album is replete with repertoire well-suited to her gorgeous, sultry and sensuous voice. If you want to know what exactly that means just listen to her take on Cole Porter’s I Love Paris. Not only do you get a sense of what it is to breathe in the melancholy and crowded loneliness of crepuscular Paris, but you will also get a wonderful sense of the dramatic tension that Superstein can bring to a song that has been done over and over again. And if you thought that no vocalist could ever bring anything new to a classic, think again. Superstein sings in beautifully shaded dialogue with her accompanists, often slipping into blissfully exquisite murmurs and slanted whispers, singing seductively as she conveys a lover’s infatuation, a wounded partner and an ecstatic bride. Her vocal slurs punctuate clipped and long, loping lines. At her flippant best she can resemble a gazelle gone delightfully crazy as she catches the scent of rain. Her extroverted personality is wonderfully geared to maximize her storytelling ability as well the stylish declamation of poetry in song. Raul da Gama Les Ondes Célestes Gabriel Lambert Jazz from Rant 1549 (nette.ca/jazzfromrant) !! The label Jazz from Rant is very much a family affair, projects by composer/ drummer Michel Lambert, his partner Jeannette Lambert and her brother Reg Schwager. With this CD, guitarist Gabriel Lambert, Michel’s nephew, joins what may be the first family of Canadian jazz. Lambert is a fleet-fingered guitarist, and his thoughtful improvisations are clearly articulated with a bright, glassy sound. What makes the CD remarkable, however, is that it hardly sounds like a debut at all. His compositions mingle influences from both classical and jazz sources – serialism, modes and free improvisation – but the music always feels organized, testament to both the coherence of his vision and the developed empathy of the band. The first half of the CD consists of four individual pieces. L’ordre mystérieux des choses has bassist Adrian Vedady and drummer Michel Lambert developing a drone before Gabriel Lambert enters playing a serial melody, creating the kind of tonal tension that sustains much of the work here. Approximation #2 demonstrates Gabriel Lambert and pianist Andres Vial’s gift for developed scalar improvisation in a Coltrane vein, while Approximation #3 employs a Messiaen mode to develop a heightened calm. The second half is devoted to the four-part suite, Les Ondes Célestes, in which the influences of Schoenberg and Messiaen are further integrated, until the work concludes with Les ondes, the conventional instruments of a jazz quartet creating a dreamlike state of bowed strings and shimmering cymbals and piano. It’s a fitting transformation to conclude an imaginative recording. Stuart Broomer Kings County Way North Independent (dangerherring.com/waynorth) !! Way North explores roots-based music in a highly contemporary framework. The quartet is a collective comprised of Toronto-based musicians, trumpeter Rebecca Hennessy and bassist Michael Herring along with Brooklynites Petr Cancura on saxophone and clarinet and Richie Barshay on the drums. The music is instantly inviting and infectious with a capacity for taking the listener to unexpected places. The often contrapuntal nature of both the writing and the improvising brings an earlier era of jazz to mind, specifically New Orleans, albeit a NOLA for the millennium. Rarely does a solo go on for too long without being joined by another voice or voices. At times the group improvisations can sound as if they were composed, meshing seamlessly with the written parts. Each of the group’s members has contributed compositions to the recording, resulting in a coherent and satisfying flow of tunes. Cancura’s Where the Willows Grow evolves from a slow march to a bass solo that becomes a duet with trumpet before being joined by the rest of the group. Treefology is a Michael Herring composition that combines counterpoint with unison melodies over a second-line groove. Trumpet and saxophone continue the theme, soloing together with remarkable unity of intent. Hennessy’s Kings County Sheriff is a five-beat figure with a tango-like feel. Her poignant flamencoish solo is met by Cancura’s sax solo which ranges effortlessly from an intense growl to modern chromaticism. The tune, like the rest of the album, revels in the spirit of lively conversation. Ted Quinlan Sitting, Waiting, Wasting Time Ken McDonald Quartet Independent (ken-mcdonald.ca) !! Bassist and composer Ken McDonald’s latest outing, Sitting, Waiting, Wasting Time, exemplifies the highly informed yet searching nature of much of the music being heard from a new generation of jazz musicians. Schooled in the tradition, they bring a host of their own influences to this ever-evolving music. McDonald’s quartet is a lean affair that takes full advantage of its pared-down instrumentation to create a group sound that is instantly relatable and identifiable. The seven self-penned compositions offer original twists on some classic jazz themes such as the blues and uptempo swing while venturing into calypso, Brazilian and Middle Eastern flavours. Drummer Lowell Whitty and bassist McDonald form a highly adaptable and conversational rhythm section. The front line of saxophonist Paul Metcalfe and guitarist/ oud player Demetri Petsalakis are well matched in their aggressive funkiness and bring both humour and risk-taking to the proceedings. Apocalypso, the opening tune, features an island groove and establishes the band’s sound in the angularity of the writing and the sense of space in the ensemble. Metcalf’s tenor solo has a playful quality that is in sync with Whitty’s interactive drumming. Petsalakis, with his slightly overdriven guitar sound and fluid style, expresses himself in ways that are equally melodic and edgy. Moon features a haunting melody played by oud and soprano saxophone. The dynamic arrangement and unusual instrumentation take this recording into world music territory in a way that seems totally consistent with its openness of vision. Ted Quinlan Spring Rain Samuel Blaser Quartet Whirlwind Recordings WR 4620 (whirlwindrecords.com) !! An original variant on the practice of saluting earlier jazz heroes by recording their tunes, Swissborn, Berlin-based thewholenote.com December 1 2015 - February 7, 2016 | 79
July/August issue is now available in flipthrough HERE, bringing to a close 25 seasons of doing what we do (and plan to continue doing), and on stands early in the week of July 5. Not the usual bucolic parade of music in the summer sun, but lots, we hope, to pass the time: links to online and virtual music; a full slate of record reviews; plenty new in the Listening Room; and a full slate of stories – the future of opera, the plight of small venues, the challenge facing orchestras, the barriers to resumption of choral life, the challenges of isolation for real-time music; the steps some festivals are taking to keep the spirit and substance of what they do alive. And intersecting with all of it, responses to the urgent call for anti-racist action and systemic change.
"COVID's Metamorphoses"? "There's Always Time (Until Suddenly There Isn't)"? "The Writing on the Wall"? It's hard to know WHAT to call this latest chapter in the extraordinary story we are all of a sudden characters in. By whatever name we call it, the MAY/JUNE combined issue of The WholeNote is now available, HERE in flip through format, in print commencing Wednesday May 6, and, in fully interactive form, online at thewholenote.com. Our 18th Annual Choral Canary Pages, scheduled for publication in print and flip through in September is already well underway with the first 50 choirs home to roost and more being added every week online. Community Voices, our cover story, brings to you the thoughts of 30 musical community members, all going through what we are going through (and with many more to come as the feature gets amplified online over the course of the coming months). And our regular writers bring their personal thoughts to the mix. Finally, a full-fledged DISCoveries review section offers cues and clues to recorded music for your solitary solace!
After some doubt that we would be allowed to go to press, in respect to wide-ranging Ontario business closures relating to COVID-19, The WholeNote magazine for April 2020 is now on press, and print distribution – modified to respect community-wide closures and the need for appropriate distancing – starts Monday March 30. Meanwhile the full magazine is right here, digitally, so if you value us PLEASE SHARE THIS LINK AS WIDELY AS YOU CAN. It's the safest way for us to reach the widest possible audience at this time!
FEATURED: Music & Health writer Vivien Fellegi explores music, blindness & the plasticity of perception; David Jaeger digs into Gustavo Gimeno's plans for new music in his upcoming first season as music director at TSO; pianist James Rhodes, here for an early March recital, speaks his mind in a Q&A with Paul Ennis; and Lydia Perovic talks music and more with rising Turkish-Canadian mezzo Beste Kalender. Also, among our columns, Peggy Baker Dance Projects headlines Wende Bartley's In with the New; Steve Wallace's Jazz Notes rushes in definitionally where many fear to tread; ... and more.
Visions of 2020! Sampling from back to front for a change: in Rearview Mirror, Robert Harris on the Beethoven he loves (and loves to hate!); Errol Gay, a most musical life remembered; Luna Pearl Woolf in focus in recordings editor David Olds' "Editor's Corner" and in Jenny Parr's preview of "Jacqueline"; Speranza Scappucci explains how not to reinvent Rossini; The Indigo Project, where "each piece of cloth tells a story"; and, leading it all off, Jully Black makes a giant leap in "Caroline, or Change." And as always, much more. Now online in flip-through format here and on stands starting Thurs Jan 30.
Welcome to our December/January issue as we turn the annual calendar page, halfway through our season for the 25th time, juggling as always, secular stuff, the spirit of the season, new year resolve and winter journeys! Why is Mozart's Handel's Messiah's trumpet a trombone? Why when Laurie Anderson offers to fly you to the moon you should take her up on the invitation. Why messing with Winterreisse can (sometimes) be a very good thing! And a bumper crop of record reviews for your reading (and sometimes listening) pleasure. Available in flipthrough here right now, and on stands commencing Thursday Nov 28. See you on the other side!
On the slim chance you might not have already heard the news, Estonian Canadian composing giant Udo Kasemets was born the same year that Leo Thermin invented the theremin --1919. Which means this is the centenary year for both of them, and both are being celebrated in style, as Andrew Timar and MJ Buell respectively explain. And that's just a taste of a bustling November, with enough coverage of music of both the delectably substantial and delightfully silly on hand to satisfy one and all.
Long promised, Vivian Fellegi takes a look at Relaxed Performance practice and how it is bringing concert-going barriers down across the spectrum; Andrew Timar looks at curatorial changes afoot at the Music Gallery; David Jaeger investigates the trumpets of October; the 30th anniversary of the Velvet Revolution (and the 20th Anniversary of our October Blue Pages Presenter profiles) in our Editor's Opener; the Toronto Mendelssohn Choir at 125; Tapestry at 40 and Against the Grain at 10; ringing in the changing season across our features and columns; all this and more, now available in Flip Through format here, and on the stands commencing this coming Friday September 27, 2019. Enjoy.
Vol 1 of our 25th season is now here! And speaking of 25, that's how many films in the upcoming Toronto International Film Festival editor Paul Ennis, in our Eighth Annual TIFF TIPS, has chosen to highlight for their particular musical interest.
Also inside: Rob Harris looks through the Rear View Mirror at past and present prognostications about the imminent death of classical music; Mysterious Barricades and Systemic Barriers are Lydia Perović's preoccupations in Art of Song; Andrew Timar reflects on the evolving priorities of the Polaris Prize; and elsewhere, it's chocks away as yet another season creaks or roars (depending on the beat) into motion. Welcome back.
What a range of stuff! A profile of Liz Upchurch, the COC ensemble studio's vocal mentor extraordinaire; a backgrounder on win-win faith/arts centre partnerships and ways of exploring the possibilities; an interview with St. Petersburg-based Eifman Ballet's Boris Eifman; Ana Sokolovic's violin concert Evta finally coming to town; a Love Letter to YouTube, and much more. Plus our 17th annual Canary Pages Choral directory if all you want to do is sing! sing! sing!
Arraymusic, the Music Gallery and Native Women in the Arts join for a mini-festival celebrating the work of composer, performer and installation artist Raven Chacon; Music and Health looks at the role of Healing Arts Ontario in supporting concerts in care facilities; Kingston-based composer Marjan Mozetich's life and work are celebrated in film; "Forest Bathing" recontextualizes Schumann, Shostakovich and Hindemith; in Judy Loman's hands, the harp can sing; Mahler's Resurrection bursts the bounds of symphonic form; Ed Bickert, guitar master remembered. All this and more in our April issue, now online in flip-through here, and on stands commencing Friday March 29.
Something Old, Something New! The Ide(a)s of March are Upon Us! Rob Harris's Rear View Mirror looks forward to a tonal revival; Tafelmusik expands their chronological envelope in two directions, Esprit makes wave after wave; Pax Christi's new oratorio by Barbara Croall catches the attention of our choral and new music columnists; and summer music education is our special focus, right when warm days are once again possible to imagine. All this and more in our March 2019 edition, available in flipthrough here, and on the stands starting Thursday Feb 28.
In this issue: A prize that brings lustre to its laureates (and a laureate who brings lustre to the prize); Edwin Huizinga on the journey of Opera Atelier's "The Angel Speaks" from Versailles to the ROM; Danny Driver on playing piano in the moment; Remembering Neil Crory (a different kind of genius)' Year of the Boar, Indigeneity and Opera; all this and more in Volume 24 #5. Online in flip through, HERE and on the stands commencing Thursday Jan 31.
When is a trumpet like a motorcycle in a dressage event? How many Brunhilde's does it take to change an Elektra? Just two of the many questions you've been dying to ask, to which you will find answers in a 24th annual combined December/January issue – in which our 11 beat columnists sift through what's on offer in the upcoming holiday month, and what they're already circling in their calendars for 2019. Oh, and features too: a klezmer violinist breathing new life into a very old film; two New Music festivals in January, 200 metres apart; a Music & Health story on the restorative powers of a grassroots exercise in collective music-making; even a good reason to go to Winnipeg in the dead of winter. All this and more in Vol 24 No 4, now available in flipthrough format here.
Reluctant arranger! National Ballet Orchestra percussionist Kris Maddigan on creating the JUNO and BAFTA award-winning smash hit Cuphead video game soundtrack; Evergreen by name and by nature, quintessentially Canadian gamelan (Andrew Timar explains); violinist Angèle Dubeau on 20 years and 60 million streams; two children’s choirs where this month remembrance and living history must intersect. And much more, online in our kiosk now, and on the street commencing Thursday November 1.
Presenters, start your engines! With TIFF and "back-to-work" out of the way, the regular concert season rumbles to life, and, if our Editor's Opener can be trusted, "Seeking Synergies" seems to be the name of the game. Denise Williams' constantly evolving "Walk Together Children" touching down at the Toronto Centre for the Arts; the second annual Festival of Arabic Music and Arts expanding its range; a lesson in Jazz Survival with Steve Wallace; the 150 presenter and performer profiles in our 19th annual Blue Pages directory... this is an issue that is definitely more than the sum of its parts.
In this issue: The WholeNote's 7th Annual TIFF TIPS guide to festival films with musical clout; soprano Erin Wall in conversation with Art of Song columnist Lydia Perovic, about more than the art of song; a summer's worth of recordings reviewed; Toronto Chamber Choir at 50 (is a few close friends all it takes?); and much more, as the 2018/19 season gets under way.
PLANTING NOT PAVING! In this JUNE / JULY /AUGUST combined issue: Farewell interviews with TSO's Peter Oundjian and Stratford Summer Music's John Miller, along with "going places" chats with Luminato's Josephine Ridge, TD Jazz's Josh Grossman and Charm of Finches' Terry Lim. ) Plus a summer's worth of fruitful festival inquiry, in the city and on the road, in a feast of stories and our annual GREEN PAGES summer Directory.
In this issue: our sixteenth annual Choral Canary Pages; coverage of 21C, Estonian Music Week and the 3rd Toronto Bach Festival (three festivals that aren’t waiting for summer!); and features galore: “Final Finales” for Larry Beckwith’s Toronto Masque Theatre and for David Fallis as artistic director of Toronto Consort; four conductors on the challenges of choral conducting; operatic Hockey Noir; violinist Stephen Sitarski’s perspective on addressing depression; remembering bandleader, composer and saxophonist Paul Cram. These and other stories, in our May 2018 edition of the magazine.
In this issue: we talk with jazz pianist Thompson Egbo-Egbo about growing up in Toronto, building a musical career, and being adaptive to change; pianist Eve Egoyan prepares for her upcoming Luminato project and for the next stage in her long-term collaborative relationship with Spanish-German composer Maria de Alvear; jazz violinist Aline Homzy, halfway through preparing for a concert featuring standout women bandleaders, talks about social equity in the world of improvised music; and the local choral community celebrates the life and work of choral conductor Elmer Iseler, 20 years after his passing.
In this issue: Canadian Stage, Tapestry Opera and Vancouver Opera collaborate to take Gogol’s short story The Overcoat to the operatic stage; Montreal-based Sam Shalabi brings his ensemble Land of Kush, and his newest composition, to Toronto; Five Canadian composers, each with a different CBC connection, are nominated for JUNOs; and The WholeNote team presents its annual Summer Music Education Directory, a directory of summer music camps, programs and courses across the province and beyond.
In this issue: composer Nicole Lizée talks about her love for analogue equipment, and the music that “glitching” evokes; Richard Rose, artistic director at the Tarragon Theatre, gives us insights into their a rock-and-roll Hamlet, now entering production; Toronto prepares for a mini-revival of Schoenberg’s music, with three upcoming shows at New Music Concerts; and the local music theatre community remembers and celebrates the life and work of Mi’kmaq playwright and performer Cathy Elliott . These and other stories, in our double-issue December/January edition of the magazine.
In this issue: conversations (of one kind or another) galore! Daniela Nardi on taking the reins at "best-kept secret" venue, 918 Bathurst; composer Jeff Ryan on his "Afghanistan" Requiem for a Generation" partnership with war poet, Susan Steele; lutenist Ben Stein on seventeenth century jazz; collaborative pianist Philip Chiu on going solo; Barbara Hannigan on her upcoming Viennese "Second School" recital at Koerner; Tina Pearson on Pauline Oliveros; and as always a whole lot more!
In this issue: several local artists reflect on the memory of composer Claude Vivier, as they prepare to perform his music; Vancouver gets ready to host international festival ISCM World New Music Days, which is coming to Canada for the second time since its inception in 1923; one of the founders of Artword Artbar, one of Hamilton’s staple music venues, on the eve of the 5th annual Steel City Jazz Festival, muses on keeping urban music venues alive; and a conversation with pianist Benjamin Grosvenor, as he prepares for an ambitious recital in Toronto. These and other stories, in our October 2017 issue of the magazine.
In this issue: a look at why musicians experience stage fright, and how to combat it; an inside look at the second Kensington Market Jazz Festival, which zeros in on one of Toronto’s true ‘music villages’; an in-depth interview with Elisa Citterio, new music director of Tafelmusik Baroque Orchestra; and The WholeNote’s guide to TIFF, with suggestions for the 20 most musical films at this year’s festival. These and other stories, in our September 2017 issue of the magazine!
CBC Radio's Lost Horizon; Pinocchio as Po-Mo Operatic Poster Boy; Meet the Curators (Crow, Bernstein, Ridge); a Global Music Orchestra is born; and festivals, festivals, festivals in our 13th annual summer music Green Pages. All this and more in our three-month June-through August summer special issue, now available in flipthrough HERE and on the stands commencing Thursday June 1.
From science fact in "Integral Man: Music and the Movies," to science fiction in the editor's opener; from World Fiddle Day at the Aga Khan Museum to three Canadians at the Cliburn; from wanting to sashay across the 401 to Chamberfest in Montreal to exploring the Continuum of Jumblies Theatre's 20-year commitment to the Community Play (there's a pun in there somewhere!).
In this issue: Our podcast ramps up with interviews in March with fight director Jenny Parr, countertenor Daniel Taylor, and baritone Russell Braun; two views of composer John Beckwith at 90; how music’s connection to memory can assist with the care of patients with Alzheimer’s; musical celebrations in film and jazz, at National Canadian Film Day and Jazz Day; and a preview of Louis Riel, which opens this month at the COC. These and other stories, in our April 2017 issue of the magazine!
On our cover: Owen Pallett's musical palette on display at New Creations. Spring brings thoughts of summer music education! (It's never too late.). For Marc-Andre Hamelin the score is king. Ella at 100 has the tributes happening. All; this and more.
In this issue: an interview with composer/vocalist Jeremy Dutcher, on his upcoming debut album and unique compositional voice; a conversation with Boston Symphony hornist James Sommerville, as as the BSO gets ready to come to his hometown; Stuart Hamilton, fondly remembered; and an inside look at Hugh’s Room, as it enters a complicated chapter in the story of its life in the complex fabric of our musical city. These and other stories, as we celebrate the past and look forward to the rest of 2016/17, the first glimpses of 2017/18, and beyond!
In this issue: a conversation with pianist Stewart Goodyear, in advance of his upcoming show at Koerner Hall; a preview of the annual New Year’s phenomenon that is Bravissimo!/Salute to Vienna; an inside look at music performance in Toronto’s health-care centres; and a reflection on the incredible life and lasting influence of the late Pauline Oliveros. These and more, in a special December/January combined issue!
In this issue: David Jaeger and Alex Pauk’s most memorable R. Murray Schafer collabs, in this month’s installment of Jaeger’s CBC Radio Two: The Living Legacy; an interview with flutist Claire Chase, who brings new music and mindset to Toronto this month; an investigation into the strange coincidence of three simultaneous Mendelssohn Elijahs this Nov 5; and of course, our annual Blue Pages, a who’s who of southern Ontario’s live music scene- a community as prolific and multifaceted as ever. These and more, as we move full-force into the 2016/17 concert season- all aboard!
Music lover's TIFF (our fifth annual guide to the Toronto International Film Festival); Aix Marks the Spot (how Brexit could impact on operatic co-production); The Unstoppable Howard Cable (an affectionate memoir of a late chapter in the life of of a great Canadian arranger; Kensington Jazz Story (the newest kid on the festival block flexes its muscles). These stories and much more as we say a lingering goodbye to summer and turn to the task, for the 22nd season, of covering the live and recorded music that make Southern Ontario tick.
It's combined June/July/August summer issue time with, we hope, enough between the covers to keep you dipping into it all through the coming lazy, hazy days. From Jazz Vans racing round "The Island" delivering pop-up brass breakouts at the roadside, to Bach flute ambushes strolling "The Grove, " to dozens of reasons to stay in the city. May yours be a summer where you find undiscovered musical treasures, and, better still, when, unexpectedly, the music finds you.
INSIDE: The Canaries Are Here! 116 choirs to choose from, so take the plunge! The Nylons hit the road after one last SING! Fling. Jazz writer Steve Wallace wonders "Watts Goode" rather than "what's new?" Paul Ennis has the musical picks of the HotDocs crop. David Jaeger's CBC Radio continues golden for a little while yet. Douglas McNabney is Music's Child. Leipzig meets Damascus in Alison Mackay's fertile imagination. And "C" is for KRONOS in Wende Bartley's koverage of the third annual 21C Festival. All this and as usual much much more. Enjoy.
From 30 camp profiles to spark thoughts of being your summer musical best, to testing LUDWIG as you while away the rest of so-called winter; from Scottish Opera and the Danish Midtvest, to a first Toronto recital appearance by violin superstar Maxim Vengerov; from musings on New Creations and new creation, to the boy who made a habit of crying Beowulf; it's a month of merry meetings and rousing recordings reviewed, all here to discover in The WholeNote.
2016 is off to a flying start! We chronicle the Artful Times of Andrew Burashko, the violistic versatility of Teng Li, the ageless ebullience of jazz pianist Gene DiNovi and the ninetieth birthday of trumpeter Johnny Cowell. Jaeger remembers Boulez; Waxman recalls Bley's influence, and Olds finds Bowie haunting Editor's Corner. Oh, and did we mention there's all that music? Hello (and goodbye) to the February blues, and here's to swinging through the musical vines of the Year of the Monkey.
What's a vinyl renaissance? What happens when Handel's Messiah runs afoul of the rumba rhythm setting on a (gasp!) Hammond organ? What work does Marc-Andre Hamelin say he would be content to have on every recital program he plays? What are Steve Wallace's favourite fifty Christmas recordings? Why is violinist Daniel Hope celebrating Yehudi Menuhin's 100th birthday at Koerner Hall January 28? Answers to all these questions (and a whole lot more) in the Dec/Jan issue of The WholeNote.
"Come" seems to be the verb that knits this month's issue together. Sondra Radvanovsky comes to Koerner, William Norris comes to Tafel as their new GM, opera comes to Canadian Stage; and (a long time coming!) Jane Bunnett's musicianship and mentorship are honoured with the Premier's award for excellence; plus David Jaeger's ongoing series on the golden years of CBC Radio Two, Andrew Timar on hybridity, a bumper crop of record reviews and much much more. Come on in!
Vol 21 No 2 is now available for your viewing pleasure, and it's a bumper crop, right at the harvest moon. First ever Canadian opera on the Four Seasons Centre main stage gets double coverage with Wende Bartley interviewing Pyramus and Thisbe composer Barbara Monk Feldman and Chris Hoile connecting with director Christopher Alden; Paul Ennis digs into the musical mind of pianist Benjamin Grosvenor, and pianist Eve Egoyan is "On the Record" in conversation with publisher David Perlman ahead of the Oct release concert for her tenth recording. And at the heart of it all the 16th edition of our annual BLUE PAGES directory of presenters profile the season now well and truly under way.
Paul Ennis's annual TIFF TIPS (27 festival films of potential particular musical interest); Wu Man, Yo-Yo Ma and Jeffrey Beecher on the Silk Road; David Jaeger on CBC Radio Music in the days it was committed to commissioning; the LISTENING ROOM continues to grow on line; DISCoveries is back, bigger than ever; and Mary Lou Fallis says Trinity-St. Paul's is Just the Spot (especially this coming Sept 25!).
