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Volume 22 Issue 6 - March 2017

  • Text
  • March
  • Toronto
  • Jazz
  • April
  • Arts
  • Symphony
  • Musical
  • Performing
  • Theatre
  • Orchestra
  • Violin
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.

20 UKRAINIAN ART SONG

20 UKRAINIAN ART SONG SUMMER INSTITUTE 2017 AUGUST 7-13 The Royal Conservatory’s TELUS Centre For Performance and Learning 1 7 20 17 The first Ukrainian Art Song Summer Institute will be a unique dramatic experience for young professionals/ emerging artists in the field of classical music to further develop their skills in singing classical song and new repertoire: Ukrainian art songs that reflect a spirit of love, poetry and history. Students will come away with a clearer understanding of how to express an art song, no matter what form, no matter what language. The renowned Royal Conservatory of Music in Toronto is pleased to partner with Ukrainian Art Song Project in offering this musically rich program to emerging artists and will serve as the venue for this inaugural Summer Institute. Summer Institute Faculty Pavlo Hunka - Bass-baritone Albert Krywolt - Pianist Melanie Turgeon - Choral Director Robert Kortgaard - Pianist Young professionals and emerging artists are invited to audition for the Ukrainian Art Song Summer Institute. Deadline for applications and submission of all supporting materials and guidelines are available on-line at ukrainianartsong.ca For more information please go to www.ukrainianartsong.ca Imagine being a part of this ●●Ukrainian Art Song Summer Institute The Royal Conservatory’s TELUS Centre for Performance and Learning, 273 Bloor St. W., Toronto, Ontario August 7 to 13, 2017 Contact: Marianna Zaparyniuk, Lessia Tkach Ciarlo Communications 416-763-3783 si@ukrainianartsong.ca www.ukrainianartsong.ca Deadline: April 1, 2017 (with some flexibility) Cost: Application fee (non-refundable); 0 Tuition fee (includes tuition, use of practice rooms and pianos, and course materials) Day program, accommodation available Camp Hours: 9:30am - 6pm, assigned rehearsals in evening !! The first Ukrainian Art Song Summer Institute is a unique dramatic experience for approximately 12 young professionals/emerging artists in the field of classical music to further develop their skills in singing classical song and new repertoire: Ukrainian art songs that reflect a spirit of love, poetry and history. Students will develop a clearer understanding of how to express an art song, no matter what form, no matter what language. Students will be presented with a book of scores of all 32 Ukrainian art songs, to be rehearsed throughout the week and performed at the open concert. Each student is required to start the program, having learned and memorized four assigned art songs. Faculty include: Pavlo Hunka, Albert Krywolt, Dr. Melanie Turgeon and Robert Kortgaard. ●●Vancouver Symphony Orchestral Institute at Whistler Whistler and Vancouver, British Columbia June 25 to July 4, 2017 Contact: Christin Reardon MacLellan 604-684-9100 x246 info@vsoinstitute.ca www.vsoinstitute.ca Deadline: March 12, 2017 Cost: ,350 Residential program !! The Vancouver Symphony Orchestral Institute at Whistler offers young musicians an experience and education like no other, joining together the GRAMMY® and JUNO Award-winning VSO with Whistler, one of the world’s finest mountain resorts. Students will be immersed in a collaborative musical environment alongside and mentored by a world-class symphony orchestra, under the direction of the VSO’s internationally acclaimed music director, Maestro Bramwell Tovey. Participation in two performances of the Whistler Institute Orchestra, chamber music, instrumental coaching, as well as a variety of unique performance opportunities will fill students’ warm summer days and cool, refreshing evenings in the mountains of beautiful British Columbia. KALIMIN FOUNDATION OLZYCH FOUNDATION UKRAINIAN ART SONG SUMMER INSTITUTE 2017 AUGUST 7-13 The Royal Conservatory’s TELUS Centre For Performance and Learning www.ukrainianartsong.ca Classical Pursuits 66 | March 1, 2017 - April 7, 2017 thewholenote.com

WE ARE ALL MUSIC’S CHILDREN March’s Child Julia Wedman MJ BUELL Julia Wedman lives in Toronto’s Bloordale Village, in the beautiful main floor apartment of a house owned by her dear friends Sue and Jubal and their adorable two-year-old son Oskar, who live upstairs. She enjoys spending time with her beloved family and friends, teaching, travelling, going to beaches, gardens and museums, learning about art and history, summer backyard parties that include dear friends eating at a long table filled with delicious food, and days that start out horribly but take unexpectedly wonderful turns. NEW CONTEST! Who is April’s child? MATTHEW SMITH Violinist Julia Wedman first caught the attention of Southern Ontario audiences in a 1998 concert with the innovative I FURIOSI Baroque Ensemble. A core member of that ensemble from 1999 to this day, she joined the Tafelmusik Baroque Orchestra in 2005. Wedman is regularly featured as a soloist in Tafelmusik’s home concerts as well as their international tours, and contributes her skills and creative thinking as an occasional leader and collaborator in the development of new programming. Wedman is also a member of the Eybler Quartet, a period-instrument ensemble that plays well-known but also often relatively unknown classical repertoire. Increasingly busy with additional engagements outside of Canada, Wedman is also a sought-after teacher and coach in Canada and abroad. Born in Prince George, B.C., Wedman and her family moved to Saskatoon when she was six. After high school, a former violin teacher helped Wedman move to London, ON, where she enrolled at Western University, followed by studies at Indiana University and the University of Toronto. Your absolute earliest musical memory? Probably my dad (a financial advisor) playing some tunes on his violin – he would take out his violin and play from a book with old folk songs like Amazing Grace and Jeannie with the Light Brown Hair. I loved that book. Why the violin? One day driving home in the car, my dad said to my older brother and me, “Okay, kids, would you like to play violin or cello?” Already I had a wacky sense of humour, and I thought he said “jello” and started laughing hysterically. “How can you play jello? I can’t play such a silly instrument! I’ll take the violin!” Do you remember that childhood photo being taken? No, but I definitely remember “October 2016 with the Saskatoon Symphony, with family in the audience, dear friends and former teachers onstage and off. A wonderful concert, surrounded by love.” -Julia Wedman practising as a child and those pajamas were my favourite ones! My earliest memory of playing violin was that I had a little box and a stick. We had to wait for a violin to be ordered because I was too small for the ones available. I remember the excitement of my first real instrument! It was so beautiful, and it made a sound! My mom used to put on recordings of music at 6:15am, then bring hot chocolate up to our rooms at 6:30 to get all of the kids up to practise before school. My sister and I often produced recitals, complete with programs, for our dolls. We all played or sang at church, and sometimes under great Victoria BC circa 1935 Halfway between childhood & manhood, More than a hoop but never a car, The bicycle talks gravel and rain pavement On the highway where the dead frogs are. ~ from Twelve Letters to a Small Town (1964) by longtime collaborator James Reaney ~ ~ Composer, teacher, pianist, author, journalist, administrator, bicycle enthusiast, father, grandfather and consummate Canadian. ~ ~ Recently: Toronto Consort ~ ~ In March: University of Toronto ~ ~ In April: New Music Concerts Know our Mystery Child’s name? WIN PRIZES! Send your best guess by March 24 to musicschildren@thewholenote.com duress played for guests that came to the house. My siblings and I would often raid our parents’ record collection and dance around the living room. Favourites were Mini- Pops, Grease, and Jascha Heifetz playing the Tchaikovsky violin concerto… Please read Julia Wedman’s extended interview at thewholenote.com CONGRATULATIONS TO OUR WINNERS! HERE’S WHAT THEY WON Biber: Requiem (March 18): Toronto Chamber Choir performs Heinrich Biber’s Requiem in F Minor and some of his innovative motets and sacred cantatas with a string ensemble led by Julia Wedman and Christopher Verrette, violins. They will also join the 7:15pm pre-concert chat. A pair of tickets for Mary Louis Masters of the Baroque Violin: (March 20) Julia Wedman, Michelle Odorico, Patricia Ahern, Valerie Gordon, Elyssa Lefurgey-Smith and Aisslinn Nossky continue their six-year exploration of Bach’s Solo Sonatas and Partitas. ”An incredible, character-building, humbling, inspiring journey!” Tickets for Richard Smith. Fork in the Road (April 21): “You have a choice to make. Slay the dragon? Drink the hemlock? Cross the Alps? “I FUROSI Baroque ensemble is joined by Debra Nagy, oboe, and Lucas Harris, lutes and theorbo. A pair of tickets goes to Al Forest Haydn Central and Vanhal CD release concert! (April 27): The Eybler Quartet, presented by The Heliconian Club of Toronto, plays quartets by Vanhal, Mozart and Haydn and introduces their new CD of Vanhal quartets. Nancy Martin gets a pair of tickets and the new CD! (Note: this concert can also be heard April 30 in St Catharines). Biber: Mystery Sonatas is Julia Wedman’s rare recoding of this unusual collection for solo violin and continuo. There are 16 sonatas, 14 featuring scordatura tuning, including a final solo Passacaglia. Each, with a title related to the Christian rosary, has a unique voice. Completed sometime around 1676 they remained undiscovered until the late 19th century. A copy of this beautiful recording goes to Christian Mueller. thewholenote.com March 1, 2017 - April 7, 2017 | 67

Volumes 21-25 (2015-2019)

Volume 25 Issue 2 - October 2019
Volume 25 Issue 1 - September 2019
Volume 24 Issue 8 - May 2019
Volume 24 Issue 7 - April 2019
Volume 24 Issue 6 - March 2019
Volume 24 Issue 5 - February 2019
Volume 24 Issue 4 - December 2018 / January 2019
Volume 24 Issue 3 - November 2018
Volume 24 Issue 2 - October 2018
Volume 24 Issue 1 - September 2018
Volume 23 Issue 9 - June / July / August 2018
Volume 23 Issue 8 - May 2018
Volume 23 Issue 7 - April 2018
Volume 23 Issue 6 - March 2018
Volume 23 Issue 4 - December 2017 / January 2018
Volume 23 Issue 3 - November 2017
Volume 23 Issue 2 - October 2017
Volume 23 Issue 1 - September 2017
Volume 22 Issue 9 - Summer 2017
Volume 22 Issue 8 - May 2017
Volume 22 Issue 7 - April 2017
Volume 22 Issue 6 - March 2017
Volume 22 Issue 5 - February 2017
Volume 22 Issue 4 - December 2016/January 2017
Volume 22 Issue 2 - October 2016
Volume 22 Issue 1 - September 2016
Volume 21 Issue 9 - Summer 2016
Volume 21 Issue 8 - May 2016
Volume 21 Issue 6 - March 2016
Volume 21 Issue 5 - February 2016
Volume 21 Issue 4 - December 2015/January 2016
Volume 21 Issue 3 - November 2015
Volume 21 Issue 2 - October 2015
Volume 21 Issue 1 - September 2015

Volumes 16-20 (2010-2015)

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Volumes 6 - 10 (2000 - 2006)

Volumes 1-5 (1994-2000)