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.
Beat by Beat | Classical
Beat by Beat | Classical & Beyond Summer’s Premises and Promises PAUL ENNIS Across Toronto, throughout Ontario and into the rest of Canada, wherever you travel, this summer promises music to suit the most discerning listener. What follows is meant to augment our Green Pages supplement, concentrating on the Toronto Summer Music Festival in particular and highlighting other noteworthy events beyond the GTA. Toronto Summer Music This year’s edition of the Toronto Summer Music Festival (TSM), July 12 to August 4, commemorates the 100th anniversary of the end of World War I by focusing on works written during, or inspired by, wartime. It’s an intriguing premise that makes for some thoughtprovoking programming. As artistic director and TSO concertmaster Jonathan Crow put it: “Some of the most beautiful, emotional and challenging music has been written during times of war and conflict as artists struggled to find meaning and give expression to the horrors gripping the world.” Borodin Quartet But the programming is not limited to such works; they become central to or merely part of a greater whole. For example, the Borodin Quartet’s two concerts that begin the festival do include Shostakovich’s intense String Quartet No.8 Op.110 (1960) dedicated “to the memory of the victims of fascism and war,” but overall spotlight Russian-themed compositions. So the Shostakovich is followed by Tchaikovsky’s String Quartet No.1 Op.11, which contains the famous Andante Cantabile melody. The next evening, July 13 in Walter Hall, Russian pianist Lukas Geniušas joins the Borodins for Shostakovich’s justly popular Piano Quintet in G Minor, Op.57 written in 1940 as WWII was just beginning. Geniušas opens the program with Rachmaninoff’s 13 Preludes (1910) then moves to Prokofiev’s Sonata No.7 Op.83 (1942). When I interviewed Geniušas two years ago he called the Prokofiev one of the central pieces of 20th-century piano music: flawless in form and matchless in its violent brutality inspired by the outrage of WWII. The overall arc of this year’s TSM ranges widely over the musical spectrum, encompassing a myriad of chamber music offerings, big band vocals, early music, gospel music, the pianism of Angela Cheng, lyric tenor Christoph Prégardien and a multi-disciplinary musical journey into the life of Francis Pegahmagabow, the renowned Ojibwe WWI sniper and decorated officer of the Canadian military. And of course, a series of concerts by art song and chamber music academy fellows is back, spotlighting a core element of TSM’s mandate in which musicians on the cusp of professional careers are mentored by, and perform with, seasoned artists. There are many instances where the war theme yields a bounty of masterpieces. Stravinsky’s L’Histoire du Soldat (1918), in which a naive soldier sells his soul (and his violin) to the devil, is an indelible concoction filled with memorable tunes and asymmetrical rhythms. Performed in its full version with narrator and dancer, the July 19 Koerner Hall performance presents a rare opportunity to experience one of Stravinsky’s masterworks. And what does it tell us about the human spirit that Copland’s sunny Appalachian Spring, with its unfailing optimism, was written in the last year of WWII? TSM will present this enduringly popular work, in its original version for 13 chamber musicians, on the same program. Messiaen wrote most of the Quartet for the End of Time after being captured as a French soldier during the German invasion of 1940. The premiere took place in an unheated space in Barrack 27, where the German officers of the camp sat shivering in the front row. “This is the music of one who expects paradise not only in a single awesome hereafter but also in the happenstance epiphanies of daily life,” Alex Ross wrote in The New Yorker. “In the end, Messiaen’s apocalypse has little to do with history and catastrophe; instead, it records the rebirth of an ordinary soul in the grip of extraordinary emotion. Which is why the Quartet is as overpowering now as it was on that frigid night in 1941.” Take advantage of the opportunity to hear this spellbinding work when Jonathan Crow (violin), Julie Albers (cello), Miles Jaques (clarinet) and Natasha Paremski (piano) perform it in Koerner Hall at 10:30pm on July 19. Crow and pianist Philip Chiu base their tribute to the great violinist, humanist and teacher Yehudi Menuhin (in Walter Hall on July 30) on concerts Menuhin performed at liberated concentration camps and military bases during WWII. The program, anchored by Beethoven’s Violin Sonata No.9 in A Major, Op.47 “Kreutzer,” includes works by Corelli, Ravel and Kreisler. More joyous music, in this case represented by Schubert’s ineffable “Trout” Quintet, seemingly apart from TSM’s war theme, is the feature of another Walter Hall recital, July 20. Taking advantage of the presence of art song mentors, tenor Christoph Prégardien and pianist Steven Philcox, the evening also includes Schubert’s song, Die Forelle, which is the basis for the theme-andvariations fourth movement of the quintet. Filling out the program are works by Shostakovich, Rachmaninoff (his unforgettable Vocalise) and Paul Ben-Haim (who fled the Nazi regime for Palestine). Another unmissable highlight of TSM’s musical abundance includes the pairing of two recent American classics in a July 24 concert at Lula Lounge by the New Orford String Quartet: Steve Reich’s haunting Different Trains, which contrasts the composer’s nostalgic feelings for the trans-American railway trips he made as a child in the early 1940s with the horrific train rides that Jews were forced to make at the same time in Europe, and George Crumb’s searing response to the Vietnam War, Black Angels (1970), written for electric string quartet. The following day, July 25 at the Church of the Redeemer, Jonathan Crow’s soloist role in Vivaldi’s Four Seasons is paired with Biber’s Battaglia (1673), a realistic instrumental depiction of war. Beethoven’s Sonata No.31 in A-flat Major, Op.110 and Chopin’s Ballade No.1 in G Minor Op.23 are major pillars of the piano canon. Angela Cheng performs them July 31 at Walter Hall before being joined by her husband Alvin Chow for three contrasting French works for piano four-hands by Debussy, Milhaud and Ravel. Ravel put all his disillusionment with the horror of WWI into La Valse, which takes an elegant waltz and ultimately twists it into madness and mayhem. Brilliant. The New Orford String Quartet and pianist Pedja Muzijevic’s program (July 27) mixes Debussy’s Sonata for Cello and Piano, written in the early days of WWI, and Beethoven’s “Serioso” String Quartet, which may have been influenced by Napoleon’s occupation of Vienna the year before it was written, with Elgar’s expansive Piano Quintet, completed just as WWI was ending. Chiu, along with violinists Aaron Schwebel and Barry Schiffman, 18 | June | July | August2018 thewholenote.com
are among the musicians taking part in two more chamber music concerts, one (August 1) bearing the weighty title “War in the 20th Century” and the other (August 3) focusing on a cornerstone of string players’ repertoire, Brahms’ Sextet No.1 in B-flat Major, Op.18. Apart from the mainstage events, there are reGENERATION concerts, in which TSM academy fellows and mentors perform together; and members of the academy also participate in lunchtime concerts. There are pay-what-you-can hour-long late afternoon performances by TSM artists and daytime chats that provide insight into the world of classical music. However much you decide to take in of TSM’s ambitious programming, you will be well-rewarded. Stratford Summer Music Founder and artistic producer John Miller’s 18 years at the helm of Stratford Summer Music come to an end this year (July 16 to August 26) with a festival filled with something for everyone, from Bach brunches to the Blind Boys of Alabama, and Tanya Tagaq interpreting the classic silent film Nanook of the North. My personal must-see list has Marc-André Hamelin and Jan Lisiecki at the top. Miller has been trying to book Hamelin since day one; he’s finally got him in a typical Hamelinesque program that mixes the well-known -- Schumann and Chopin -- with the lesser-known: Weissenberg and Castelnuovo-Tedesco. Be assured that Canada’s greatest pianist will charm and astound. Lisiecki, who has been on a stellar trajectory over most of his young career, makes his ninth appearance in Stratford (and Miller warns it may be his last for a while, since he’s in so much demand). Montreal Chamber Music Festival Getting an early start on summer, the Montreal Chamber Music Festival has several attractive concerts in mid-June. The Rolston String Quartet continues their Banff Competition grand tour pairing Shostakovich’s String Quartet No.7 (his shortest at 13 minutes) with Steve Reich’s powerful Different Trains (June 12). Later that night, the Rolstons and Andre Laplante perform Schumann’s iconic Piano Quintet Op.44. Amit Peled plays Bach and Bloch on Pablo Casals’ 1733 Matteo Gofriller cello (June 15). Four pianists (Alon Goldstein, David Jalbert, Steven Massicotte and Wonny Song) in various combinations play Mozart, Wilberg (his Fantasy on Themes from Bizet’s Carmen), Stravinsky’s Petroushka and more (June 15). The New York Philharmonic String Quartet (the principals of the famous orchestra) make their Canadian debut with a program of Haydn, Shostakovich and Borodin (June 16). Festival of the Sound The 39th edition of the Festival of the Sound is varied and extensive: from the world premiere of Sounding Thunder, Timothy Corlis and Armand Garnet Ruffo’s work honouring the renowned Ojibwe WWI sniper, Francis Pegahmagabow, to a series pairing Bach with Mozart, Debussy, Dvořák, Schubert, Schumann and Brahms; from concerts featuring the emerging pianist Charles Richard-Hamelin, to The Mosaïque Project, for which Ensemble Made in Canada commissioned 14 award-winning Canadian composers to each write a fourminute movement for piano quartet inspired by a particular province, territory or region, thus creating a unique musical quilt representing the diversity of Canada. The breadth and depth of this beloved festival on the shore of Georgian Bay continues to astonish. Clear Lake Chamber Music Festival Under the artistic direction of father-and-son pianists Alexander and Daniel Tselyakov, Manitoba’s first chamber music festival is a long weekend of well-chosen repertoire set in Riding Mountain National Park (July 26 to 29). This year’s highlights include Alexander Tselyakov performing Mozart’s “Elvira Madigan” Piano Concerto No.21 K467 arranged for piano and string quartet; an evening of masterworks by Bruch, Poulenc and Dohnányi with Alexander and strings; Mozart’s Piano Quartet No.2 K493 with Daniel Tselyakov; and a midday seriously fun concert complete with coffee and pastries. A unique festival. Inna Perkis & Boris Zarankin FOUNDERS AND ARTISTIC DIRECTORS concerts take place at TRINITY-ST. PAUL’S CENTRE 427 Bloor Street West 2018 | 2019 24th SEASON PREVIEW a season of groundbreaking musical moments featuring Tom ALLEN, host Allison ANGELO, soprano Tyler DUNCAN, baritone Lara DODDS-EDEN, piano Igor GEFTER, cello Andrew HAJI, tenor Julie HEREISH, cello Erica Iris HUANG, mezzo soprano Sheila JAFFÉ, violin Elina KELEBEEV, piano Andrea LUDWIG, mezzo soprano Shannon MERCER, soprano Maeve PALMER, soprano Inna PERKIS, piano Ernesto RAMIREZ, tenor Mark SKAZINETSKY, violin Krisztina SZABO, mezzo soprano Micah YUI, piano Boris ZARANKIN, piano Ilana ZARANKIN, soprano Julia ZARANKIN, host among others OCTOBER 21, 2018 | 3 PM a mystery of history: 1889 in Paris and Vienna FEBRUARY 3, 2019 | 3 PM 24th annual Schubertiad APRIL 14, 2019 | 3 PM to the letter: an epistolary journey JUNE 9, 2019 | 3 PM Russian salon: ages & stages Early Bird Subscribers will receive TWO complimentary tickets to the salon of their choice! for tickets and information, please call 416.466.6323 or visit offcentremusic.com thewholenote.com June | July | August2018 | 19
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!).
