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.
Simms, and a popular
Simms, and a popular classic of the (admittedly limited) bona fide flute quintet repertoire, Derek Charke’s Raga Terah. The show will also feature David Heath’s flute septet Return to Avalon, where the Finches will be joined by soloists Kelly Zimba and Camille Watts, from the flute section of the Toronto Symphony Orchestra. I ask if there’s much repertoire available for five flutes. He laughs. “When we started, we started with almost nothing,” he says. “But I’m pretty involved in the flute community, so I asked friends. And then there were a whole bunch of arrangers and composers who decided they would arrange things for us without charging anything, which was really helpful in the beginning when we had no money. That’s how we started building up our repertoire. And each year we try to commission a new piece. Bekah’s piece on June 17 is our second commission.” “Which was the chicken and which was the egg?” I inquire, in connection with Avalon [Heath’s flute septet]. “Did you find the piece and say oh good, let’s ask Kelly and Camille to play it with us, or did you say it would be great to play with Camille and Kelly, and then start looking for a piece to play?” “Actually I found this piece last year,” he says. “in fact it’s originally written for two flutes and piano, which Heath arranged for two flute soloists plus five flutes. I found the piece on YouTube and listened to it and thought, ok, this piece could work. And that was around the same time that Kelly won the principal flute position at the TSO. She lives a couple blocks away from me, so we go out for lunch and stuff like that. So I asked her if she was interested and then I thought, Camille would be perfect. Because this piece actually requires the soloists to play both regular flute and either piccolo or alto flute as well. So Kelly is going to play the part with alto flute and Camille is going to do the one with piccolo. So it worked out perfectly. Even better, they both play Burkart flutes, so Burkart will be sponsoring the event.” For this upcoming concert, as with all their others, programming and the rehearsal process are intense and thoughtful. “There would be no point if we didn’t take it seriously. All of us have really different schedules. So sometimes it’s almost impossible to find time. Normally we rehearse every week, once a week. We book it about a month or two in advance. And for me, even doing once a week is not enough. To get all of the details in and everything, I find that it’s almost impossible. But all the musicians are great. A lot of experience with solo, contemporary music, orchestra. So it just brings many different ideas all the time. And we do fight. In rehearsal we argue all the time! That’s a kind of fun part of chamber music.” Seven flutes sounds like an abundance of riches, I comment. “People think, oh, seven flutes, that’s weird” he replies. “But I grew up in Vancouver where I was used to doing ten-flute contemporary work, every year in different groups out there. And with top-notch players from the Vancouver Symphony, all pro, and a couple professors from UBC, so very, very high level playing. That’s what I’m used to seeing, whereas it’s not quite as common out here. So five or seven flutes is not that unusual for me.” And large ensemble doesn’t necessarily mean less challenging repertoire either: “I think with flute ensemble, people automatically think of lighter music. But we wanted to make sure that people think of us as a serious chamber ensemble. Chamber music is a different kind of playing - much more difficult.” In the final analysis, this is a group that exists in some ways because of the high level of orchestral profiency and involvement of its members, but also as a foil to the particular rigours and constraints of orchestral playing. It’s an outlet for all kinds of things - chamber music, commissioning, community projects and, yes, good oldfashioned arguing back and forth on the path to collective creative discovery - that an orchestra-size ensemble typically cannot manage. So it’s a story about flutes and flute players - but it’s also about more than that: it’s about the small ensembles that grow within the musical community of our city, in each fertile nook and cranny. “We keep trying new things,” Lim says. “Finding what works.” Concert note: for the June 17 concert Amelia Lyon will be replaced by Anh Phung, who has worked with the group previously. There will be a masterclass by Kelly Zimba as part of the event prior to the performance. David Perlman can be reached at publisher@thewholenote.com. FEATURE Jerram’s Moon Shines Over Miller’s Stratford MJ BUELL Museum of the Moon at OORtreders Festival, Netherlands Sharp-eyed readers may already have spotted John Miller’s Hitchcockian cameo appearance as a satyr, silhouetted against the moon, on the cover of this year’s Stratford Summer Music program book. It’s a distinctive profile, almost as distinctive as his artistic fingerprint on the festival itself – one that he’s curated for 18 years – and this year for the last time. The moon is a fitting backdrop for Miller’s final appearance as SSM artistic director, heralding as it does the upcoming appearance at Stratford of Luke Jerram’s Museum of the Moon. It will be the third Jerram creation to be part of Stratford Summer Music; the relationship cultivated with Jerram over the years is quintessential Miller. He finds talented people, notices that essential something in them that works for him, and then having forged the relationship he maintains it. Artists and performers come back, and so do audiences. In a recent visit to The WholeNote Miller talked about Jerram’s first SSM visit in 2007, describing Jerram as “an inventor … a futurist … a guy who has experiences and then leads them in directions that most of us would never think of going.” That first visit was with a project called Sky Orchestra, Miller explains. “It was inspired by a trip to the Middle East and Jerram’s first experience of hearing, from several imams simultaneously, the call to prayer; suddenly the sound of compelling music was everywhere.” Back in the UK Jerram collaborated with composer Dan Jones to create eight hot air balloons, each with two speakers attached, which take off at dawn or dusk and fly across a city of sleeping or waking people. Each balloon plays two different tracks of a 16-track orchestral score, creating a huge audio landscape. In the case of Stratford Summer Music the music of Sky Orchestra flooded the early morning sky as it took off from Stratford and flew towards St Mary’s. Jerram’s popular Play Me I’m Yours project – artist-decorated street pianos, for anyone to play – came to Stratford for the first time in 2012, and returns in 2018 for a fourth time. So this summer’s Museum of the LUKE JERRAM 16 | June | July | August2018 thewholenote.com
Moon is Jerram’s third project at Stratford and its premiere Ontario appearance. Jerram’s 23-foot balloon, illuminated from within, is a reproduction of the exact surface of the moon: an assembly of actual photographs taken by NASA cameras from lunar space craft. As part of its world travels it will float over Stratford’s Tom Patterson Island for ten August days and nights. “Since the moon shines everywhere all over the world we will have heritage world music every night under the moon, including First Nations artists Jeremy Dutcher, Laura Grizzlypaws and Tanya Tagaq,” says Miller. “It somehow feels fitting to characterize a festival that embraces music, dance, literature, movies, family celebrations, photographic and astrological ideas as being ‘everything under the moon.’” Jerram’s presence at SSM reflects aspects of how the festival’s own identity has evolved during the Miller years in two ways particularly important to Miller. One is about putting music and performance art in public spaces – like the Jerram projects or Murray Schafer on Tom Patterson island or the BargeMusic series. The other is the cultivation of SSM’s own loyal audience, drawn by SSM’s earned reputation for attracting the finest Canadian and international artists, not just once but on an ongoing basis. Artists come back because they feel part of a community: not just as part of a festival circuit. Sometimes it’s their only Canadian appearance or else one of very few. And their Stratford experience is not typical of the daily grind of a tour: they walk and rest, go to the theatre or other performances, enjoy the restaurants and café brunches and the generally relaxed atmosphere. Miller has always believed that it was better for music in Stratford to be its own festival, with its own board, personality, experience and sense of accomplishment in spite of the original vision of a consolidated theatre and music festival. He credits his friend, Stratford Festival’s Richard Monette, for believing in and encouraging variety. Today SSM both has its own faithful audience and manages to put itself in the path of the tens of thousands of people who come to Stratford for “that other festival.” to perform JS Bach’s entire Well Tempered Clavier in two concerts over one weekend. Jan Lisiecki takes time out of a now very international career to make his ninth consecutive appearance, and Jean- Michel Blais will be featured for a second consecutive year. Musicologist, music writer/broadcaster Robert Harris returns for the fifth year of illustrated lectures “Music That Changed the World”; this July SSM will release their newly published book The Stratford Lectures: Ten Perspectives about Music by Robert Harris which includes ten of the Harris lectures in an expanded form. The book initiative is another example of the kind of artistic relationship building, and audience building, that is a Millerian hallmark. Equally a tribute to Miller is the fact that SSM won’t be going out in a blaze of glory with its founder. There has been nothing last minute or ad hoc about the process of going about finding a successor. The orderly process is already complete with the announcement earlier this year that violinist Mark Fewer will succeed Miller in the post. Miller will continue in an advisory capacity for a couple of years only: Fewer will take the helm as artistic director in October. Stepping down, Miller said, is a little bit like how he imagines walking one’s daughter down the aisle. “But it feels as though I’m giving her away under the best possible circumstances” he says. If Miller’s face on the satyr in front of the moon is this year’s opening salvo, then perhaps the BargeMusic finale, with the Border Cities Caledonia Pipe Band, is another whimsical Miller autobiographical touch. Learning to play the bagpipes has always been on his bucket list, he explains. Fittingly, SSM’s final evening festivities – the “J.A.M.boree” – will be a picnic on Tom Patterson Island with another Miller favourite – the Lemon Bucket Orkestra, under the August 26 full Sturgeon Moon, and the Jerram moon. And with J.A.M. (Miller’s initials) as one last sly signature touch. MJ Buell, a regular contributor to The WholeNote, can be reached at musicschildren@thewholenote.com SCOTT WISHART John Miller “It somehow feels fitting to characterize a festival that embraces music, dance, literature, movies, family celebrations, photographic and astrological ideas as being ‘everything under the moon.’” — John Miller METROPOLITAN UNITED CHURCH’S HISTORIC 54-BELL CARILLON Miller reflected that during these formative 18 years it was good that he is not, himself, a musician, because he was able to bring an open appetite to the task. “It might not have been like that if I’d had a particular instrument or history that I was bringing along. With music if you only program what you enjoy then you shut the door to all sorts of other people. Variety is what a real festival is about.” Visitors this year can look forward to re-encountering, or meeting, some returning SSM favourites: the Blind Boys of Alabama, Orchestre de la Francophonie, John MacLeod’s Rex Hotel Orchestra, the Langley Ukuleles, the Mzansi Youth Choir of South Africa, to name a few. And while this year, more than any, Miller is going back to the well in terms of inviting or re-inviting the artists who have helped make SSM what it has been over the last 18 years, there will also be artists he’s finally “landed” after hoping to present them for years. Four important Canadian pianists who will be featured are a striking example of this range. Marc André Hamelin makes a longanticipated SSM debut. Angela Hewitt, featured last summer, returns Summer Carillon Recital Series FRIDAY, JUNE 15 THURSDAY, JUNE 21 FRIDAY, JUNE 29 Scott Allan Orr (Toronto/Oxford) John Widmann (City Carillonneur, Frederick, Maryland) Gordon Slater (former Dominion Carillonneur, Ottawa) Listen to these free outdoor noon recitals on the front lawn of Metropolitan United Church Feel free to bring your lunch. No ticket is required. Donations welcome toward Metropolitan’s upcoming carillon renovation project 56 Queen Street E., Toronto • 416-363-0331 (ext. 26) • www.metunited.org thewholenote.com June | July | August2018 | 17
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!).
