what Reich had been doing up to this point, both rhythmically and in his treatment of the voice. Previously, his rhythmic patterns were created by dividing up triple metres in various ways, and vocally he had relied on using vocalise – syllables or vocal sounds rather than text. “For the first time since I was a student, I decided I was going to set words, like the normal use of the human voice.” While working, he began chanting the original Hebrew words of Psalm 19 over and over until “suddenly a melody popped into my head, while at the same time this rhythm popped into my head – one, two; one, two, three; one, two; one, two, three.” Wondering what was happening, “I suddenly realized it was the unconscious dredging up of my previous knowledge from years ago of Stravinsky’s Rite of Spring, and Bartok’s Bulgarian rhythms, which was basically the use of fast changing metres. And somehow, and who knows how, the Hebrew text attached itself to those rhythms.” As he continued to work on the piece, with each of the remaining three movements built upon the texts of different psalms, he realized that this process wasn’t going away. Rather it ended up staying not only for the entire piece but became the basis for The Desert Music (composed in 1983) and continues to appear in many other instrumental works to this day. “It became a spontaneous discovery of another musical language through the setting of the Hebrew text.” This story of progressive and transformative discovery has been the hallmark of Reich’s compositional career, going back to his initial explorations, in the mid-1960s, of what would happen sonically when playing back a series of tape loops with the same recorded fragment and listening as they gradually moved out of sync or phase with each other. The ensuing musical structure manifests itself inhis pieces It’s Gonna Rain and Come Out, and forms the foundation of how his musical aesthetic itself has slowly morphed and changed throughout the years. It’s as if his own musical ideas and discoveries were having and continue to have a conversation amongst themselves, as became evident when we talked about his recent compositions. In 2013, for example, he wrote Quartet for the Colin Currie Group, a UK virtuosic percussion ensemble devoted to playing Reich’s music. By deciding to score the piece for two vibraphones and two pianos, he was using the same core instrumentation that has been the foundation for many of his previous pieces. What’s distinctive about Quartet, though, is that it changes key more frequently than in any other piece. “Harmonically, it’s all over the map, just the opposite of what you’d associate with me, especially in the early pieces. When I first finished it, I thought it was a mess, but when I heard it, I found it interesting and the performers loved it.” Two years later, in 2015, Reich composed Pulse, scored for a small group of strings and winds, piano and electric bass. “The pulse is constant, creating a very hypnotic work with static harmonic changes and just the kind of thing you’d think I would have written 20 to 30 years ago. Maybe I wrote it in reaction to the previous piece (Quartet). Sometimes that happens.” Currently, he is working on a co-commission from The Royal Ballet in London and Ensemble Signal, based in New York. Titled Runner, the piece will be premiered on November 10 at the Royal Opera House in London’s Covent Garden with choreography by Wayne McGregor. What distinguishes this piece is the incremental changes in rhythmic values, despite the fact that the tempo doesn’t change. This musical progression of different note durations reflects the idea that runners have to pace themselves. What intrigued me in listening to Reich speak about his music some 40 years later was how, even though in the early days his music offered a radically different approach to music making, he remains, now as he was then, almost bemused by how the evolutionary process of his musical explorations continually brings him back to the pillars of western musical tradition and more normal ways of composing. And as we, the audiences of Toronto, gear up for his April visit, we can look forward, now as we did then, to the way the magnetic pulse of the sound weaves its own magic within our ears, as once again we engage, step by step, with the timeless music of Steve Reich. The WholeNote’s regular new music columnist, Wendalyn Bartley, is a Toronto-based composer and electro-vocal sound artist. Vesnivka at 50 LESLIE FERENC It’s Tuesday evening and Vesnivka is rehearsing for an upcoming concert – perhaps the most important in the Toronto choir’s history. It’s been 50 years since conductor and artistic director Halyna Kvitka Kondracki founded Vesnivka and the Ukrainian women’s choir is preparing for its golden anniversary performance. This month’s concert at Glenn Gould Studio April 17 features the works of contemporary composers commissioned by Vesnivka over the past five decades. I’m excited to sit in on a rehearsal and race across Trinity Bellwoods Park before making my way down the stairs into the basement of St. Nicholas Ukrainian School where Vesnivka has practised since day one. As I enter the hall, the memories begin flooding in. I was one of the young girls who attended Saturday school at St. Nick’s where Kondracki established Vesnivka in 1965. From humble beginnings as an after-school music program to an internationally acclaimed choir renowned for musical excellence, Vesnivka has become a leading voice of Ukrainian choral music worldwide, transcending language barriers and entertaining diverse audiences at home and abroad. I was 13 when I joined Vesnivka; I sang in the alto section for more than 30 years. During that time, the choir performed across Canada, the eastern United States, South America, Europe and Great Britain on some of the most prestigious concert stages in the world. Singing at Carnegie Hall in New York City, the Royal Albert Hall in London and at a Papal mass next to the magnificent Renaissance altar at St. Peter’s Basilica in Rome were unforgettable experiences that came with bragging rights. A whirlwind seven-city tour of Ukraine in 1991 was life-changing. From as far back as I remember, my parents had talked about their beloved homeland and I soaked up its history and culture vicariously. Stepping onto Ukrainian soil for the first time and walking in the footsteps of my ancestors was almost surreal. I discovered where I’d come from and who I was. The experience was unmatched and I was thrilled to share it with my choir sisters. We embraced our heritage and the people who opened their hearts to us. At times we were so moved by their generosity of spirit, we cried on stage. There were also tears of joy. Travelling across that vast country on a bus with 50 of my best friends was so much fun. We’d spontaneously break out in song or laugh our heads off after someone grabbed the microphone to tell jokes over the public address system, all the while sharing goodies like cake, home-baked bread and roast chicken that had been passed on by relatives after a concert. As the miles rolled on, we’d chat and get to know one another better. Each tour – across Canada, France, Germany, Spain, Portugal, Argentina, Brazil, Holland, Poland and so many others – made our musical family stronger. For Myroslava Diakun, Vesnivka nourished her passion for singing. “I grew up in a family that loved music and special occasions at our house always included singing, usually in three-part harmony,” she tells me. “Fast forward 50 years and I’m still singing in Vesnivka with lifelong friends that I met in the choir who have become my extended family.” And the songs that brought us together in our youth keep us connected in adulthood. When “the girls” get together for birthdays, weddings of our children, christenings and even celebrations of lives lived, we sing. I join in from the pews when Vesnivka sings the liturgy at St. Nicholas Ukrainian Catholic Church on Queen St. West. When I’m feeling nostalgic, I pull out my collection of Vesnivka’s recordings. This latest release, 50 Seasons of Song, is a compilation of the “best recordings” of Vesnivka in celebration of the 50th anniversary. The songs from the early years feature a pure and clean sound with orchestral arrangements by Canadian composer and two-time Gemini Award-winner Eric Robertson. There are songs that celebrate the strength and spirit of Ukrainian women as well as compositions 10 | April 1, 2016 - May 7, 2016 thewholenote.com
an Ontario government agency Halyna Kvitka Kondracki by I.B. Vesolowskyj, featuring his popular dance songs of the 40s and 50s with Vesnivka accompanied by Toronto’s Burya Band. Fittingly in this anniversary year, last month, Vesnivka launched the first phase of its e-Library of Ukrainian Choral Music. The project represents a significant milestone for Vesnivka in its mandate of promoting Ukrainian choral music, says e-Library manager and longtime Vesnivka member Lesia Komorowsky. “Vesnivka has an impressive repertoire of Ukrainian classical, folk, contemporary and sacred music in its archives which it wants to share with singers around the world – thus leaving a musical legacy for generations to come.” The e-Library gives users access to this music online, the ability to download the sheet music in either the original Ukrainian or transliterated form for performance. Music lovers can explore it at vesnivka. com and clicking on the e-Library link. While I haven’t been in the choir for many years, it feels as if I’ve never left as I walk into the room where old friends welcome me. “Does this mean you’re coming back to the choir?” they ask before I take a seat in the back row and wait for the rehearsal to begin. Aside from the padded chairs and music stands, little has changed in the hall. It’s still buzzing with energy as it always did before a concert. While there are many new faces, there are also familiar ones. Olenka Wasley, the longest-standing member of the choir, joined in 1965 and hasn’t missed a season yet. “Quite often commitments such as school, work, family responsibilities or health matters have affected the membership of many, but I pride myself on being able to manage all of these and still be an active member,” she says. Wasley recalls being impressed by Kondracki’s enthusiasm, creativity and dedication. That hasn’t changed either. “We all marvelled at her talents,” Wasley tells me, adding that Vesnivka has been a big part of her life and that of her family which has supported her every step of the way, knowing how much she loves singing in the choir. “I would encourage young women to come out and join Vesnivka and celebrate music through song,” she says. I’m hoping The Nightingale, (arrangement by Borys Lystopad based on a traditional Ukrainian folk song), will be part of the evening’s practice. Its haunting melody, sung a cappella, transports me to Llangollen, Wales and the 1993 International Eisteddfodd as the judges announce that Vesnivka’s performance of The Nightingale placed first in the folk category at the prestigious choral competition. I remember leaping out of my seat and jumping for joy. It’s how athletes must feel winning Olympic gold. While I loved the concerts, participation in music festivals and competitions opened up the world of international choral music and opportunities to meet people who love to sing as much as I do. It was also amazing to bring home the awards – whether it was from a CBC Choral Competition or the Choral Olympics in Linz, Austria. Not bad for amateurs. As the choir warms up, I slip into the adjoining music room where the walls are covered with photographs, concert posters, PaxChristiChorale.org un organisme du gouvernement de l’Ontario thewholenote.com April 1, 2016 - May 7, 2016 | 11
Choral Scene: Uncharted territory: three choirs finding paths forward; Music Theatre: Loose Tea on the boil with Alaina Viau’s Dead Reckoning; In with the New: what happens to soundart when climate change meets COVID-19; Call to action: diversity, accountability, and reform in post-secondary jazz studies; 9th Annual TIFF Tips: a filmfest like no other; Remembering: Leon Fleisher; DISCoveries: a NY state of mind; 25th anniversary stroll-through; and more.
Online in flip through here, and on stands commencing Tues SEP 1.
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!).
