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.
precedents as well, as
precedents as well, as on Purcell in the Eternal Deir Yassin. Traces of the 17th-century composer’s music drift though an open window via a bel canto soprano’s vocalizing; more prominent are Indian influences, with an electronic tambura providing an appropriately subcontinental drone, while voluminous reed tones side-slip into various keys and pitches. This sort of solo contemplation is actually connected to an instrument’s technical versatility, rather than its nationalism. It’s the same way that Lithuanian soprano and tenor saxophonist Liudas Mockŭnas’ improvisations on Hydro (NoBusiness NBLP 110 nobusinessrecords.com) lack any overt Baltic musical inferences. But considering the titles of the seven-part Hydration Suite, three-part Rehydration Suite, and the final extended Dehydration, his relationship with the sea is highlighted. Conspicuously by utilizing “water-prepared” (sic) saxophones, the Hydration Suite includes liquid-related sounds, while denser echoes from vibrations of potential coastal and submerged objects share space with the saxophonist’s moist hiccups and puffs, plus seabird-like wails that expand or recede in degrees of pitch and volume. Oddly enough, Hydration Suite part 5, the most abstract outpouring, with dot-dash, kazoo-like treble textures, seemingly only using the sax mouthpiece, precedes the suite’s final sequences, which are delicate and almost vibrato-less. Melodic and expressive, the gentle curlicues could come from a so-called “legit” player. Wolf-like snarls and staccato peeping characterize the Rehydration Suite, but the track also emphasizes Mockŭnas’ reed fluidity, encompassing circular breathing, emphatic screams and gut-propelled emotional sweeps. A compendium of the preceding techniques, the multi-tempo Dehydration showcases the saxophone’s farthest reaches, including pressurized vibratos, whinnying cries falling up instead of down, and gusts that appear to be blowing any remaining water from his instrument, with pure air and key jiggling. An individual adaptation of the equipment used by the likes of Küchen and Mockŭnas is offered by New York’s Jonah Parzen-Johnson, who plays baritone saxophone tones alongside an analog synthesizer’s textures. I Try To Remember Where I Come From (Clean Feed CF 430 CD cleanfeed-records.com) contains seven instances where his overblowing and split tones play catch-as-catch-can with the electronics. Avoiding loops, overdubbing or sampling, gutty textures either arise from mouth-propelled blowing or live processing. Since his preference is for simple, songbased material, the result is unlike any other CD here. Parzen- Johnson sparingly utilizes multiphonic screams or thickened vibrating quavering tones. On tracks such as Too Many Dreams, he comes across as if he were a folk or country balladeer, with the synthesizer taking the place of a backing combo. The machine can also deflect his sax’s tones back at him, doubling his exposition, but here and elsewhere he manages to overcome the dangers of reed overpowering with skill. While the title tune sets up distinctive contrasts between unaccented puffs and burbles from the baritone and the synthesizer’s pipe-organ-like cascades, What Do I Do with Sorry is the most notable track, since the split-second transformations come from man as well as machine. With his output shaped as if he were playing a bagpipe chanter and the synthesizer responding as if it were the bagpipe’s reservoir bag, Parzen-Johnson’s improvising takes on buzzing, triple-tongued aspects while the synthesizer’s echoing pulsations suggest both Celtic airs and the beats from a club DJ. There may be as many ways to play solo saxophone as there are saxophonists, and these are a few instances of how it is done. Old Wine, New Bottles Fine Old Recordings Re-Released BRUCE SURTEES In the 1930s and into the 40s, two high profile conductors shared the attention of the record-buying public in the United States: Arturo Toscanini and Leopold Stokowski. Both men and their orchestras, the NBC Symphony in New York and the Philadelphia, were then under contract to RCA Victor, which profited either way. Both men had their disciples and a free-bowing performance by the rapturous Stokowski could not be mistaken for the taut Toscanini. For Stokowski, the printed score was a point of departure. His recordings were in demand around the world, as were Toscanini’s. The Disney 1940 avant-garde film Fantasia with Stokowski and the Philadelphia Orchestra recording (most of) the soundtrack widened his reputation and certainly attracted newcomers to the classics. As it had been quite some time since I listened to a Stokowski performance, the arrival of a new compilation was unexpected and welcome. Leopold Stokowski: Complete Decca Recordings (4832504, 23 CDs) contains the recordings made in Europe from 1962 to 1973. Orchestras are The New Symphony Orchestra of London, the London Symphony, the London Philharmonic, the New Philharmonia, the Royal Philharmonic, the Czech Philharmonic, the Hilversum Radio Philharmonic and l’Orchestre de la Suisse Romande. It was said that Bruno Walter could make any orchestra sound like the Vienna Philharmonic and similarly, a performance from anywhere conducted by Stokowski usually feels like a performance conducted by Stokowski. His performances of absolute music, symphonies, concertos, etc. were straightforward with variations of tempi and expression. In program music his interpretations could be and usually were flamboyant and hyperbolic. CD9 in this set contains three perfect examples: Stravinsky’s Firebird Suite, Tchaikovsky’s Marche Slave and Mussorgsky’s Night on Bare Mountain in Stokowski’s own mighty orchestration, in over-the-top performances heard in Decca’s best Phase 4 sound. Phase 4 technology basically employed more than a score of microphones over the orchestra, enabling the recording engineer to spotlight instruments and re-balance the performance to suit his own taste, presenting an obvious dichotomy. It was the ultimate in multi-miking. The raison d’être for this collection is Stokowski plus the repertoire plus Decca’s Phase 4 sound. A partial list is in the set mentioned below but check amazon.co.uk for the complete track listing. The 23rd disc is Leopold Stokowski A Memoir with voices of Stokowski, John Georgiadis, Hugh Maguire, Gervase de Peyer and other colleagues, plus excerpts of the recordings. An interesting section is Leopold Stokowski Remembers Gustav Mahler. Thomas Martin Recalls Auditioning for Leopold Stokowski has the double bass player recounting his audition for the Houston Symphony when Stokowski was their music director. An unusual and nice way to conclude the collection. In 2014 Decca issued a 41CD set, Phase 4 Stereo Concert Series (4786769), that contained a broad collection of singular performances of some familiar standard repertoire and more, featuring international artists such as Sean Connery, Ivan Davis, Eileen Farrell, Ruggiero Ricci, Marilyn Horne and Robert Merrill. Conductors 82 | March2018 thewholenote.com
include Bernard Herrmann, Stanley Black, Edward Downes, Antal Doráti, Arthur Fiedler, Anatole Fistoulari, Jean Fournet, Henry Lewis, Lorin Maazel, Erich Leinsdorf, Charles Munch, Eric Rogers, Miklós Rózsa and Leopold Stokowski. There are nine Stokowski CDs that also appear in the above collection; Beethoven’s Ninth Symphony, Berlioz’ Symphonie Fantastique, Pictures at an Exhibition, Scheherazade, Tchaikovsky’s Fifth and the 1812 Overture, Glazunov’s Violin Concerto with Silvia Marcovici, a collection of Bach transcriptions, excerpts from Wagner’s Ring Cycle, Vivaldi’s Four Seasons and suites from Swan Lake and Sleeping Beauty ballets. Well, this collection is certainly a curate’s egg, “Good in Parts.” Purists will certainly abhor most of it but others may simply revel in it. Karl Böhm was one of the very last great conductors in the German tradition that had been omnipresent in the music world. No longer with us are the likes of Clemens Krauss, Erich Kleiber, Wilhelm Furtwangler, Felix Weingartner and Bruno Walter. DG has assembled a collection of his recordings under the title Karl Böhm The Operas with the subtitle Complete Vocal Recordings on Deutsche Grammophon (4798358, 70 CDs boxed with a 144-page 190mm-square book). The enormity of this collection of incomparable music-making is overwhelming and one might wonder what Karl Böhm was all about. He was born in Graz, Austria on August 28, 1894 and after receiving a degree in law he attended the conservatory there, later enrolling at the conservatory in Vienna. He became an assistant repetiteur at Graz in 1917 and by 1920 he was the senior director of music there. In 1921 he was engaged by Bruno Walter at the Bavarian State Opera in Munich. In 1927 he was appointed chief music director in Darmstadt. A few more appointments later and in 1933 he conducted Tristan und Isolde in Vienna. He became director of the Semper Opera in Dresden succeeding Fritz Busch in 1934, remaining in there until 1942. He conducted the first performances of two Richard Strauss operas, Die schweigsame Frau in 1935 and in 1938 Daphne, of which he is the dedicatee. In 1938 he premiered in the Salzburg Festival with Don Giovanni, becoming a permanent guest conductor there. After 1948 he conducted Don Giovanni at La Scala and from 1950 to 1953 directed the German season in Buenos Aires. In 1957 he made his debut at the Met in New York with Don Giovanni and became a favorite of Rudolph Bing. At the Met he directed 262 performances, including many premieres. He leaned towards Mozart, Beethoven, Wagner and Verdi, and certainly had a special connection to the music by his close friend, Richard Strauss. Böhm made his debut in Bayreuth in 1962 with Tristan und Isolde and directed performances there until 1970, and from 1965 to 1967 he conducted Der Ring What we're listening to this month: des Nibelungen, Wieland Wagner’s last production. Böhm continued conducting and recording and in his last years he was associated with the London Symphony, with which he had an affectionate relationship and which had named him LSO president. He was still recording with them in June 1980 about one year before his death on August 14, 1981 in Salzburg. Included in this edition are operas by Beethoven, Berg, Mozart, Richard Strauss and Wagner, plus two and a half CDs of Böhm speaking in German about his life, etc. Soloists in top voice include Martti Talvela, Peter Schreier, Anton Dermota, Dietrich Fischer-Dieskau, Fritz Wunderlich, Evelyn Lear, Gundula Janowitz, Birgit Nilsson, Sherrill Milnes, Hans Hotter, Gwyneth Jones, Christa Ludwig, Hilde Güden… and the list goes on. Yes, it is an expensive set but the ROI (return on investment) is very high. The Berlin of 1946 was a war-ravaged city divided into four sectors according to the nationality of the occupying force. The American, the Russian, the British and the French sectors each had their own restrictions and protocols. The situation was the setting for countless successful novels and films then and since. In the midst of the poverty and homeless refugees, Berliners turned to music and the performing arts. “Every shed and every garage might serve as a little temple of the Muses,” ex-POW Dietrich Fischer-Dieskau recalled. “The plentiful supply reflected the demand. Every evening queues formed outside the box offices (where people had to queue in spite of everything).” The American radio station, the RIAS, formed a new symphony orchestra, the RIAS Symphony Orchestra. They gave their first concert on December 12, 1948. On the podium was a young Hungarian conductor, Ferenc Fricsay. In 1956 the orchestra renamed themselves the Berlin Radio Symphony Orchestra and in 1993, the Deutsches Symphonie-Orchester, Berlin. Ferenc Fricsay: The Mozart Radio Broadcasts (DG 4798275, 4 CDs in a hardcover book) includes recordings from Deutschlandradio (1951-52). The repertoire: Symphonies 1, 4-9, 23 and 27, the Bassoon Concerto K191, Sinfonia Concertante K297b, Cassation K63, Serenade K375, Ein Musikalischer Spass K522, Serenata Notturna K239 and Divertimenti K247 and 334. Also Sull’aria from Le Nozze di Figaro (with Suzanne Danco and Rita Streich) and In quali accessi, o Numi … Mi trade quell’alma ingrate from Don Giovanni (Suzanne Danco). From the very first bars I knew this was something special and during the afternoon played through all four discs. It barely matters that the pristine sound is mono. These are performances not for critiquing but for simple joy. thewholenote.com/listening Shadow Etchings Orlando Cela Orlando Cela navigates the complexities of postmodernism in chamber music with this rich recording of flute and piccolo treasures for the curious ear. Departure BC Double Quartet Jazz quartet meets string quartet: a dazzling and hypnotic new album by the incomparable Bill Coon and friends. What a treat! I Can See Clearly Now Kathleen Gorman Compelling jazz arrangements of classic songs. Influences from Blue Note to Carole King, & classical lyricism. Kala Kalo So Long Seven So Long Seven's highly anticipated second recording features Salif Sanou dit Lasso on talking drum, kora and flute as well as Demetri Petsalakis on oud. thewholenote.com March2018 | 83
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.
Following the Goldberg trail from Gould to Lang Lang; Measha Brueggergosman and Edwin Huizinga on face to face collaboration in strange times; diggings into dance as FFDN keeps live alive; "Classical unicorn?" - Luke Welch reflects on life as a Black classical pianist; Debashis Sinha's adventures in sound art; choral lessons from Skagit Valley; and the 21st annual WholeNote Blue Pages (part 1 of 3) in print and online. Here now. And, yes, still in print, with distribution starting Thursday October 1.
Alanis Obomsawin's art of life; fifteen Exquisite Departures; UnCovered re(dis)covered; jazz in the kitchen; three takes on managing record releases in times of plague; baroque for babies; presenter directory (blue pages) part two; and, here at the WholeNote, work in progress on four brick walls (or is it five?). All this and more available in flipthrough HERE, and in print Tuesday Nov 3.
In this issue: Beautiful Exceptions, Sing-Alone Messiahs, Livingston’s Vocal Pleasures, Chamber Beethoven, Online Opera (Plexiglass & All), Playlist for the Winter of our Discontent, The Oud & the Fuzz, Who is Alex Trebek? All this and more available in flipthrough HERE, and in print Friday December 4.
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!).
