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.
DISCOVERIES | RECORDINGS
DISCOVERIES | RECORDINGS REVIEWED DAVID OLDS When a new recording of the Bartók Viola Concerto crossed my desk recently it immediately caught my attention. Begun in 1945 and left incomplete at the time of his death – actually it was just a few sketches – this was the composer’s final composition. Although in the words of Grove’s Dictionary of Music and Musicians Bartók’s assistant Tibor Serly’s completion of the concerto “cannot be considered definitive,” it has always been a favourite of mine. Motherland (Warner Classics 0190295697693 warnerclassics.com) features young superstar violist David Aaron Carpenter performing concertos by Dvořák, Bartók and Walton, plus a number of concerted works by Kiev-born, New York City resident Alexey Shor (b.1970) with the London Philharmonic Orchestra. Carpenter, born in NYC in 1986, has had a remarkable career, winning the 2005 Philadelphia Orchestra Young Artists Competition, the Walter W. Naumburg Viola Competition the following year and an Avery Fisher Career Grant in 2010. His first recording, Elgar and Schnittke concertos, was praised highly in these pages in October 2009 by Terry Robbins, and two subsequent outings met with similar attention in Robbins’ Strings Attached column in recent years. With that in mind, I had no qualms about holding back Carpenter’s latest recording for my own collection. Of course I had to start with the Bartók, and I was immediately transported back to the heights I first scaled when introduced to this work by Yehudi Menuhin’s performance with the Philharmonia Orchestra under Antal Dorati’s direction half a century ago. We’ll likely never know just how much of this atypical work is Bartók’s and how much that of Serly. Strangely though, it is a much more original work than Serly’s own Rhapsody for Viola and Orchestra which is replete with borrowings from his master. Carpenter’s stunning performance reminds us why, its questionable pedigree notwithstanding, this concerto is a staple of the viola repertoire. The first CD (of two) opens with Joseph Vieland’s transcription of Dvořák’s masterful Cello Concerto, to which Carpenter has added his own refinements. It is very effective, but as a cellist I can’t help but notice that the power and anguish of the cello’s upper register, its chanterelle range, is not equalled when the viola plays the same pitches. That being said, it is still a captivating performance, with the orchestra under Kazushi Ono in fine form. Especially noteworthy are the horn solos. The second disc begins with William Walton’s concerto, which was commissioned by Lionel Tertis in 1929. Tertis was not convinced and declined to premiere the work but later, in words of Andrew Morris “was good enough to admit his mistake.” Tertis said: “The innovations in [Walton’s] musical language, which now seem so logical and so truly in the mainstream of music, then struck me as farfetched.” To our modern ears it seems hard to imagine this lush and romantic work being received as anything but a masterpiece. There is more than an hour of music by Shor dispersed across the two discs, and frankly I don’t know why. The inclusion of his Seascapes, a four-movement work for viola and orchestra, would have more than sufficed. His motion-picture soundtrack sensibility makes even the Dvořák and Walton sound modern, and the 13-movement Well Tempered Chanson, a compendium of encores written for Carpenter, seems like just too much dessert. The Bartók, however, is worth the price of admission. Speaking of film scores and people named Shor(e)… last year Canadian superstar film composer Howard Shore took time out from his day job to compose a celebratory cantata to honour Canada’s sesquicentennial. Sea to Sea/D’un ocean à l’autre was commissioned by the New Brunswick Youth Orchestra (nbyo-ojnb. com) and was first performed on July 2, 2017 at the Canada 150 Stage, Riverfront Park, Moncton. That performance featuring New Brunswick’s pride and joy, soprano Measha Brueggergosman, and the Choeur CANADA150 Choir was recorded and is now available from Leaf Music (LM217 leaf-music.ca). With bilingual lyrics by Elizabeth Cotnoir, the nine-minute work opens with a horn fanfare to set the stage and then launches into jubilant praise for our fair land. After the bombastic opening there is a contemplative middle section gently declaring “We hold a vision.” The final section is a return to the opening exuberance, this time en français. The CD single also includes two “radio edit” versions, just under three minutes each, one in English and one in French. The latest project from the 2016 Canadian Folk Music Awards Best Instrumental Group of the Year – Andrew Collins Trio – is the cleverly named pair of CDs Tongue and Groove (andrewcollinstrio.com). The first is a departure for the band, with 11 tracks featuring lead vocals by multimando frontman Collins for the most part, with harmonies and occasional lead lines provided by bass player James McEleney. The third member of the trio, Mike Mezzatesta, keeps busy on guitar, mandolin, fiddle and mandola. It’s an eclectic collection of traditional “down homey” numbers, novelty songs, cover versions and a few originals. Of particular note are Collins’ own reworking of Marijohn Wilkin and Danny Dill’s Long Black Veil and Roger Miller’s The Hat. But for me it is the instrumental disc Groove that really shines. Replete with some of the finest bluegrass pickin’ you’re likely to find this far north, there’s also a mix of styles, including some very Django-like vibes to which the double strings of Collins’ mandolin give a new twist, a beautiful lullaby and a couple of fiddle tunes. Standouts include Poplar Bluff, Kentakaya Waltz, Badabada Ba Ba and Big Toaster. Concert note: Andrew Collins Trio launches Tongue and Groove at Lula Lounge on June 10 as the final event in this year’s edition of Lulaworld. It seems that every month we receive a dozen or more CDs from the Parma Recordings group, which includes the labels Ravello, Big Round, Asonica and, in this case, Navona Records. Although my current activities as an amateur cellist are focusing on string-only ensembles, quartets and at the moment a trio, for many years I also played with pianists in the traditional piano trio formation – violin, cello and piano. Beginning with the classics, Mozart, Beethoven, Mendelssohn (Felix and Fanny), Schumann (Robert and Clara), but eventually moving into the 20th century with Debussy, Shostakovich and contemporary Canadians including Colin Eatock and Daniel Foley – both of whom will be familiar to readers of The WholeNote – I spent countless hours 72 | June | July | August2018 thewholenote.com
exploring the repertoire with friends. So I was quite interested when a new double CD from Trio Casals, Moto Bello (nv6156 navonarecords. com) arrived. The Moto series “represents a curated collection of contemporary music by living composers with the traditional instrumentation of the acclaimed Trio Casals.” The group’s acclaim began in 1996 at the Pablo Casals Festival in Puerto Rico, from which I assume their name derives. There are ten composers included in this two-disc package, none of whom were previously known to me. The repertoire runs the gamut of contemporary styles, from approachable melodic works, through minimalism to craggy modernist sensibilities, and although most utilize the full trio resources, there are several solo and duo pieces. Of particular note is Beth Mehocic’s Somewhere Between D and C# for solo cello, with its exploration of ambiguous resolution. L. Peter Deutsch’s Ocean Air is a lovely suite in three movements harkening back to the late 19th century. Giovanni Piacentini’s Ondine begins in quiet Debussy-like arpeggiation that gradually builds into a stormy tempest before calming to gentle seas again. Each of the ten composers brings an individual voice to the medium, making for a varied and satisfying program. The playing is convincing and committed throughout. I was especially impressed by how complete the package was: a simple folded cardboard cover containing two CDs and a 12-page booklet with composer bios and program notes. I only wish that there was more information about the trio itself, and that the composers’ names were more discernable – pale blue type on a blue background is hard to read. Another Navona recording that arrived recently looked strangely familiar to me. The Eloquent Saxophone featuring Toronto (now Cobourg) saxophonist, professor and founding member of the pioneering band Lighthouse, David Tanner and pianist Marc Widner (nv6158 navonarecords.com). It’s a charming collection of mostly French repertoire from the early 20th century, but also including more recent works by American Leslie Bassett and Gene DiNovi – a saxophone ensemble piece achieved through overdubbing the various parts. The disc begins with another saxophone quartet, the aptly named Serenade comique by Jean Françaix. Although most of the works were written for the saxophone, there is an effective transcription of Debussy’s Syrinx (originally for solo flute) in a warm and thoughtful rendition. Widner is the perfect accompanist for this repertoire, whether playing original piano lines or, in the case of Paule Maurice’s Tableaux de Provence, subbing for an entire orchestra. Also of note is Charles Koechlin’s Etude No.VIII from a set of saxophone and piano studies that were not published until 1970, 20 years after the composer’s death. The credits tell us that the recordings were made in 1988 in Toronto, the multi-tracking at Axon Music Productions and the rest in Walter Hall. That’s when I figured out what was so familiar. I checked my file card catalog of LP recordings, and sure enough, I have the original vinyl version of this disc put out on Apparition Records. Even the cover art is the same. The brief performer bios have been updated nominally and the order of the tracks has been modified – it used to start with Syrinx – but with the exception of the program notes, unfortunately missing from the CD reissue, the recording is the same. It was a welcome addition to my collection three decades ago, and it is welcome again now. One final note, an intriguing percussioncentric disc of music by Baljinder Sekhon. Places & Times (innova 988 innova.mu) is, in the words of the composer, “no ordinary album of percussion ensemble music. These compositions explore a wide spectrum of possibilities offered by the percussion family, from the aggressive noise of a cymbal on piano strings and peaceful meditations created by finger cymbals gently buzzing on a vibraphone, to the curious thump of a person falling on a bass drum.” The disc features three percussion ensembles: Los Angeles Percussion Quartet; McCormick Percussion Group and Line upon Line Percussion. Three of the tracks include soloists: Dave Gerhart, steel pan; Dieter Hennings, guitar and Eunmi Ko, piano. Musica Casera, a 12-minute track that features guitar holding its own against a battery of percussion instruments, through delicate passages and thunderous sections, is particularly captivating. Another highlight is Sun for three percussionists all equipped with similar outfits: one keyboard, one skin, one wood and one metal instrument. They all share access to a large cymbal in centre stage, presumably the namesake of the piece. Despite similar resources, the combinations provide a very broad spectrum of sound and range. We welcome your feedback and invite submissions. CDs and comments should be sent to: DISCoveries, WholeNote Media Inc., The Centre for Social Innovation, 503 – 720 Bathurst St. Toronto ON M5S 2R4. We also encourage you to visit our website, thewholenote.com, where you can find enhanced reviews in the Listening Room with audio samples, upcoming performance details and direct links to performers, composers and record labels. David Olds, DISCoveries Editor discoveries@thewholenote.com What we're listening to this month: thewholenote.com/listening Tongue & Groove Andrew Collins Trio Modern mandolin-forward fare that nods to the likes of Grisman dawg music & Punch Brothers eclecticism – trailblazing new acoustic roots from this 7x CFMA winner. The Eloquent Saxophone David Tanner Comprised of performances of repertoire for piano and saxophone, these expressive melodies have a timeless quality that gives each composition an exciting sound. Felix Mendelssohn: Complete Works for Cello and Piano This new recording presents Mendelssohn's complete output for cello and piano, performed by leading virtuosi Marcy Rosen and Lydia Artymiw AXIOMS: MOMENTS OF TRUTH Axiom Quartet An axiom is a self-evident truth. This album represents aspects and shades of truth. Axiom Quartet delivers a deeply satisfying statement on truth and inner fulfillment. thewholenote.com June | July | August2018 | 73
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!).
