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.
sopranino saxophone solo
sopranino saxophone solo of boomeranging circular breathing on They Rode for Them- Part Two. So how do the Ontarians and Quebeckers fare? Quite well, especially on the CD-ending runthrough of Mitchell’s vintage Nonaah, played by a quartet of Caloia, trumpeter Craig Pedersen, alto saxophonist Yves Charuest and clarinetist Lori Freedman. A squirming chipper compendium of string bounces, tongue slaps, nimble trumpeting and reed whistles, the head gives way to a harmonized middle section, while sombre asides maintain the tune’s ambulatory pace. It’s a nimble confection to complete the multi-course sonic banquet served by the 18 players on the preceding six tracks. The sonic half-dozen pieces are preeminently group music, although Charuest, bassoonist Peter Lutek and pianist Marilyn Lerner, among others, manage brief interpolations. Offering the flavors derived from both notated and improvised sounds, sometimes, as on Ride the Wind, the accumulated vamps are almost symphonically orchestral, with a rumbling trombone/tuba intro booming like the initial motif of Beethoven’s Symphony No.5 before the darkened textures are balanced by decorative reed smears plus sunnier respites from flute peeps, cymbal raps and chromatic stopping from piano and vibes. More dissonant, with intermittent pacing, the other tracks include twinned instrumental passages, some as challenging as Jean Derome’s piccolo face-off with Isaiah Ceccarelli’s snare drum on They Rode for Them-Part Two, after which drum ratamacues usher in surround sound from the MTAO that takes up every remaining open space. The key instance of this mass movement is RUB, which moves without pause into Shards and Lemons. Profoundly abstract, the expressive squeaks, gurgles and small animal cries on RUB undulate sporadically until superseded by the spiritual tone poem that is the latter tune. The placid surface of orchestral harmonies is sometimes upset by trumpet peeps and trombone slurs until a harsher interlude weighted towards percussion and lower-pitched reeds enlarges the unrolling slow-motion, culminating in a crescendo that distinctively connects understated, stentorian, shrill and lowing textures into a pulsating whole. Mitchell’s influence as a polymorphous soloist and composer is enormous and is reflected in the work of other master musicians such as Daniel Carter. On the threepart improvisation Seraphic Light (AUM Fidelity AUM 106 aumfidelity.com), Carter plays soprano, alto and tenor saxophones, clarinet, flute and trumpet with frequent Mitchell collaborators Shipp and bassist William Parker. Obviously less structured than Mitchell’s work often is, Seraphic Light does confirm how an integrated combination of motion and emotion can create a narrative both spellbinding and stirring. Initially graceful and formal due to Carter’s muted trumpet grace notes, the tune shortly becomes foot-stomping swing due to Parker’s crunching and buzzing bass line, Shipp’s repetitive chording and Carter’s riffs that sprawl from moderato to altissimo. With Carter switching among so many horns and the others playing percussive when appropriate to bypass the need for a drummer, the three sometimes recalls a miniature AEC. The program’s apogee occurs midway through Part II, when carefully thought-out polyphony means that a groove is established even as each of the players creates a separate, though related, theme variation. The track culminates with this layered mass dividing into a walking bass line, segmented reed textures and connective keyboard comping. A coda as well as a culmination, Part III allows a pause to acknowledge applause on this live set, and then miraculously picks up where the previous tune ends, reaching the same energetic groove. Then the track is slowly allowed to fade via rolling piano textures, string slams from the bassist and breathy up-and-down flutter tonguing from Carter’s tenor saxophone. The musical advances which Mitchell helped pioneer are still being showcased and extended by himself and others, 50 years on. Old Wine, New Bottles Fine Old Recordings Re-Released BRUCE SURTEES Exciting beyond words! A friend asked me about Universal’s omnibus collection of the recordings of Birgit Nilsson (La Nilsson - The Complete Decca · Deutsche Grammophon · Philips Recordings Decca 4832787) to which I answered impulsively, “Exciting beyond words.” Just consider the contents drawn from the archives of DG, Decca, Philips, the BBC, the ORF and the Metropolitan Opera. On 79 CDs and two DVDs there are 27 complete operas, four by Richard Strauss and 12 by Wagner (including two Rheingolds that do not feature Nilsson!) in addition to those by Mozart (Don Giovanni, two versions, Leinsdorf and Böhm), Beethoven (Fidelio, Maazel), Verdi (Un Ballo in Maschera, Solti; Macbeth, Schippers and Aida, Mehta), Puccini (Tosca, Maazel; La Fanciulla del West, Matacic and Turandot with Jussi Bjoerling and Renata Tebaldi, Leinsdorf) and Weber (Oberon, Kubelik and Der Freischütz, Heger). Also many recitals, duets, arias and rehearsals. As for any staged work, the supporting cast in any opera is hardly of minimal importance and the producers of these original performances certainly knew their jobs. First out of the box is the Tristan und Isolde from September 1960 with Fritz Uhl (Tristan), Regina Resnik (Brangäne), Tom Krause (Kurwenal) and Arnold van Mill (King Mark). The Vienna Philharmonic is conducted by Georg Solti. John Culshaw produced. (After Nilsson’s heartbreaking Mild und leise, the informative CD that follows, telling us in perhaps too much detail “how the watch was made,” somewhat breaks the spell. There is a second version of Tristan conducted by Böhm, live from Bayreuth in August 1966 with Wolfgang Windgassen, Christa Ludwig, Eberhard Wächter and Martti Talvela. Also a CD of excerpts from Tristan conducted by Hans Knappertsbusch, who was Decca’s first choice to conduct the complete Ring, an honour that defaulted to the less experienced Wagnerite, Georg Solti. Next up is Die Walküre from September 1961 with the LSO under Leinsdorf. Nilsson is Brunnhilde, Jon Vickers is Sigmund and George London is Wotan. 1958 saw the first installment of the Decca/Culshaw Ring with the VPO, Das Rheingold without Nilsson but with Kirsten Flagstad as Fricka. A very nice gesture by producer John Culshaw to employ Flagstad, the greatest Brunnhilde of her day, then aged 63. Walküre follows from 1966/67 with the cast for the full cycle: Nilsson, Hans Hotter (Wotan), Wolfgang Windgassen (Siegfried), Christa Ludwig (Fricka) with the Ortlinde sung by Helga Dernesch who would be Brunnhilde in Karajan’s Ring Cycle for DG. In Siegfried the Forest Bird is sung by Joan Sutherland. The famous BBC video of the final session of Gotterdämmerung in Vienna in 1965 with Solti, Nilsson and the horse is included. Further along in this Nilsson treasury, there is the live Böhm Ring from Bayreuth in 1966/67 with Nilsson’s Brunnhilde and Theo Adam as Wotan. When asked of their own favourite roles in all opera, both Kirsten Flagstad and Birgit Nilsson named Brunnhilde, particularly in 90 | June | July | August2018 thewholenote.com
Gotterdämmerung, which demands both a heroic singer and dramatic actress. Also, Nilsson stated that her best recorded performance in the role was this live Bayreuth production with Böhm. Under Böhm’s direction, there is palpable tension and drama. Tannhäuser from 1969 recorded in the Jesus Christus-Kirche in Berlin is conducted by Otto Gerdes with the Deutschen Oper Berlin featuring Wolfgang Windgassen as Tannhäuser, Nilsson as Elizabeth and Venus, Theo Adam as Hermann and Dietrich Fischer-Dieskau as Wolfram von Eschenbach. The first of the Richard Strauss operas is Salome, recorded in the Sofiensaal in Vienna during 1961. Again John Culshaw is the producer. As conducted by Solti, Nilsson’s Salome is wanton, Gerhard Stolze is an incestuous Herod and Grace Hoffman is a scheming Herodias. Eberhard Wächter is the unfortunate Jochanaan. This is an astonishingly realistic, atmospheric recording with, it seems, virtually unrestrained dynamics that bring the goings-on right into the room. The book tells us that this is a 2017 remaster. What an exceptional performance and recording this is! The first of two recordings of Elektra dates from 1966, also in the Sofiensaal, and features, of course, Nilsson as Elektra with Regina Resnik as Klytämnestra, Marie Collier as Chrysothemis, Gerhard Stolze as Aegist and Tom Krause as Orest. Nilsson is Elektra and once again the recording of the often ferocious score is well up to the above Salome. The second version of Elektra is a DVD of the live performance at the Met in February 1980 with Mignon Dunn as Klytämnestra, Regina Resnik as Chrysothemis and Donald McIntyre as Orest. That was some 14 years after the version above, but Nilsson’s artistry and presence remained intact; and watching her and Resnik made this a performance to remember. Elektra’s death scene is unique. There are some bonus tracks on the DVD including Nilsson delivering a curtain speech at a MET Anniversary Gala on April 27, 1996 honouring James Levine. Finally, Strauss’s Die Frau ohne Schatten, conducted by Karl Böhm in 1977 with the Vienna State Opera chorus and orchestra has Nilsson as Sein Weib and the last change of scene includes James King, Leonie Rysanek, Lotte Rysanek and Walter Berry. The very impressive, 200-page hardcover art book contains a biography of Nilsson, lavishly illustrated with lots of full-page photographs and full details of the recording sessions. This is not merely a collection of recordings but a fitting homage to a great artist. Uniquely boxed, La Nilsson is a 100th anniversary limited edition of 79 CDs and 2 DVDs with 27 complete operas and bonus features (Universal 8327874). Hänssler has issued a set of the Mozart Complete Sonatas for Piano and Violin played by Dmitry Sitkovetsky, accompanied in 2006 by Antonio Pappano and by Konstantin Lifschitz in 2007/8/9 (Hänssler HC17013, 4 CDs). The sonatas on disc one with Pappano, K304, K305, K380 and K454, were recorded in Potton Hall, Suffolk and the rest, all with Lifschitz, originated in the studio in Heidelberg. The brisk tempos in some of the sonatas give them an attractive quality but on the other hand are often too fast to develop the phrasing in the accepted Mozart style. The slower tempo sonatas K378 and K301 and some others are ideal. The two-movement K304 in E minor, the only sonata in a minor key, is a charmer, particularly the first theme of the first movement sung without vibrato. Altogether, a pure delight. As is K403 on CD4… as are all 17 sonatas. There are other complete recordings that give more attention to the intrinsic Mozart style. But Sitkovetsky has more than enough interesting qualities to justify this one. They are truly presented as sonatas for piano and violin, offering correct recorded balances throughout… a very nice job by the engineers, wherein for the most part the piano is leading. Sitkovetsky is not a flamboyant performer but is eloquent and compact, maintaining a consistent and satisfying presentation. He is an excellent chamber music player. Audite continues to issue historic live performances from the Lucerne Festival in the mid-20th century. These recordings are the first issues to be taken directly from the original master tapes recorded by the Swiss Radio and Television, the SRF, at the International Music Festival. The latest issue is a concert from August 16, 1953 conducted by Wilhelm Furtwängler of Schumann and Beethoven. The recordings are so fresh, dynamic and realistic that for the listener (at least this one) the intervening years evaporate, and then is now. This two-disc set is available in two forms, as a 2CD set (23-441) or on 2 SACDs (91-441). The concert consisted of the dramatic Schumann Overture to Manfred, Op.115, followed by a mighty performance of Beethoven’s Eroica Symphony as only a Furtwängler could inspire. The Schumann Fourth Symphony performance is another triumph in which, from the very first bar, everything about it reflects a real sense of occasion… which indeed it is. The playing of the Swiss Festival Orchestra is, of course, inspired and the dynamics of the recording take us right inside the Lucerne Kunsthaus. To celebrate Aaron Copland’s 75th birthday on November 14, 1975, the Los Angeles Philharmonic Orchestra engaged him to conduct his own works in their home, the Dorothy Chandler Pavilion. Naxos has issued a Blu-ray video of that concert as it was broadcast across the continent (Copland Conducts Copland Naxos NBD0068V). The concert opens, rather appropriately, with a fanfare, the Fanfare for the Common Man, written at the request of his friend, conductor Eugene Goossens. We know this because, in a voiceover, Copland says a few words to introduce each piece to the audience at home. Also on the concert were El salón México, the Clarinet Concerto with the dedicatee Benny Goodman as soloist and Hoe Down from Rodeo. For the concluding work, a suite from his opera, The Tender Land, the sizeable Los Angeles Master Chorale joined the orchestra for the work’s finale The Promise of Living. The composer’s beat and cues to the players are clearly observed, resulting in a good time had by all. The WholeNote Listening Room • Read the review • Click to listen • Click to buy Scan the code or visit www.thewholenote.com/listening to hear what we're listening to this month! thewholenote.com June | July | August2018 | 91
Choral Scene: Uncharted territory: three choirs finding paths forward; Music Theatre: Loose Tea on the boil with Alaina Viau’s Dead Reckoning; In with the New: what happens to soundart when climate change meets COVID-19; Call to action: diversity, accountability, and reform in post-secondary jazz studies; 9th Annual TIFF Tips: a filmfest like no other; Remembering: Leon Fleisher; DISCoveries: a NY state of mind; 25th anniversary stroll-through; and more.
Online in flip through here, and on stands commencing Tues SEP 1.
Following the Goldberg trail from Gould to Lang Lang; Measha Brueggergosman and Edwin Huizinga on face to face collaboration in strange times; diggings into dance as FFDN keeps live alive; "Classical unicorn?" - Luke Welch reflects on life as a Black classical pianist; Debashis Sinha's adventures in sound art; choral lessons from Skagit Valley; and the 21st annual WholeNote Blue Pages (part 1 of 3) in print and online. Here now. And, yes, still in print, with distribution starting Thursday October 1.
Alanis Obomsawin's art of life; fifteen Exquisite Departures; UnCovered re(dis)covered; jazz in the kitchen; three takes on managing record releases in times of plague; baroque for babies; presenter directory (blue pages) part two; and, here at the WholeNote, work in progress on four brick walls (or is it five?). All this and more available in flipthrough HERE, and in print Tuesday Nov 3.
In this issue: Beautiful Exceptions, Sing-Alone Messiahs, Livingston’s Vocal Pleasures, Chamber Beethoven, Online Opera (Plexiglass & All), Playlist for the Winter of our Discontent, The Oud & the Fuzz, Who is Alex Trebek? All this and more available in flipthrough HERE, and in print Friday December 4.
July/August issue is now available in flipthrough HERE, bringing to a close 25 seasons of doing what we do (and plan to continue doing), and on stands early in the week of July 5. Not the usual bucolic parade of music in the summer sun, but lots, we hope, to pass the time: links to online and virtual music; a full slate of record reviews; plenty new in the Listening Room; and a full slate of stories – the future of opera, the plight of small venues, the challenge facing orchestras, the barriers to resumption of choral life, the challenges of isolation for real-time music; the steps some festivals are taking to keep the spirit and substance of what they do alive. And intersecting with all of it, responses to the urgent call for anti-racist action and systemic change.
"COVID's Metamorphoses"? "There's Always Time (Until Suddenly There Isn't)"? "The Writing on the Wall"? It's hard to know WHAT to call this latest chapter in the extraordinary story we are all of a sudden characters in. By whatever name we call it, the MAY/JUNE combined issue of The WholeNote is now available, HERE in flip through format, in print commencing Wednesday May 6, and, in fully interactive form, online at thewholenote.com. Our 18th Annual Choral Canary Pages, scheduled for publication in print and flip through in September is already well underway with the first 50 choirs home to roost and more being added every week online. Community Voices, our cover story, brings to you the thoughts of 30 musical community members, all going through what we are going through (and with many more to come as the feature gets amplified online over the course of the coming months). And our regular writers bring their personal thoughts to the mix. Finally, a full-fledged DISCoveries review section offers cues and clues to recorded music for your solitary solace!
After some doubt that we would be allowed to go to press, in respect to wide-ranging Ontario business closures relating to COVID-19, The WholeNote magazine for April 2020 is now on press, and print distribution – modified to respect community-wide closures and the need for appropriate distancing – starts Monday March 30. Meanwhile the full magazine is right here, digitally, so if you value us PLEASE SHARE THIS LINK AS WIDELY AS YOU CAN. It's the safest way for us to reach the widest possible audience at this time!
FEATURED: Music & Health writer Vivien Fellegi explores music, blindness & the plasticity of perception; David Jaeger digs into Gustavo Gimeno's plans for new music in his upcoming first season as music director at TSO; pianist James Rhodes, here for an early March recital, speaks his mind in a Q&A with Paul Ennis; and Lydia Perovic talks music and more with rising Turkish-Canadian mezzo Beste Kalender. Also, among our columns, Peggy Baker Dance Projects headlines Wende Bartley's In with the New; Steve Wallace's Jazz Notes rushes in definitionally where many fear to tread; ... and more.
Visions of 2020! Sampling from back to front for a change: in Rearview Mirror, Robert Harris on the Beethoven he loves (and loves to hate!); Errol Gay, a most musical life remembered; Luna Pearl Woolf in focus in recordings editor David Olds' "Editor's Corner" and in Jenny Parr's preview of "Jacqueline"; Speranza Scappucci explains how not to reinvent Rossini; The Indigo Project, where "each piece of cloth tells a story"; and, leading it all off, Jully Black makes a giant leap in "Caroline, or Change." And as always, much more. Now online in flip-through format here and on stands starting Thurs Jan 30.
Welcome to our December/January issue as we turn the annual calendar page, halfway through our season for the 25th time, juggling as always, secular stuff, the spirit of the season, new year resolve and winter journeys! Why is Mozart's Handel's Messiah's trumpet a trombone? Why when Laurie Anderson offers to fly you to the moon you should take her up on the invitation. Why messing with Winterreisse can (sometimes) be a very good thing! And a bumper crop of record reviews for your reading (and sometimes listening) pleasure. Available in flipthrough here right now, and on stands commencing Thursday Nov 28. See you on the other side!
On the slim chance you might not have already heard the news, Estonian Canadian composing giant Udo Kasemets was born the same year that Leo Thermin invented the theremin --1919. Which means this is the centenary year for both of them, and both are being celebrated in style, as Andrew Timar and MJ Buell respectively explain. And that's just a taste of a bustling November, with enough coverage of music of both the delectably substantial and delightfully silly on hand to satisfy one and all.
Long promised, Vivian Fellegi takes a look at Relaxed Performance practice and how it is bringing concert-going barriers down across the spectrum; Andrew Timar looks at curatorial changes afoot at the Music Gallery; David Jaeger investigates the trumpets of October; the 30th anniversary of the Velvet Revolution (and the 20th Anniversary of our October Blue Pages Presenter profiles) in our Editor's Opener; the Toronto Mendelssohn Choir at 125; Tapestry at 40 and Against the Grain at 10; ringing in the changing season across our features and columns; all this and more, now available in Flip Through format here, and on the stands commencing this coming Friday September 27, 2019. Enjoy.
Vol 1 of our 25th season is now here! And speaking of 25, that's how many films in the upcoming Toronto International Film Festival editor Paul Ennis, in our Eighth Annual TIFF TIPS, has chosen to highlight for their particular musical interest.
Also inside: Rob Harris looks through the Rear View Mirror at past and present prognostications about the imminent death of classical music; Mysterious Barricades and Systemic Barriers are Lydia Perović's preoccupations in Art of Song; Andrew Timar reflects on the evolving priorities of the Polaris Prize; and elsewhere, it's chocks away as yet another season creaks or roars (depending on the beat) into motion. Welcome back.
What a range of stuff! A profile of Liz Upchurch, the COC ensemble studio's vocal mentor extraordinaire; a backgrounder on win-win faith/arts centre partnerships and ways of exploring the possibilities; an interview with St. Petersburg-based Eifman Ballet's Boris Eifman; Ana Sokolovic's violin concert Evta finally coming to town; a Love Letter to YouTube, and much more. Plus our 17th annual Canary Pages Choral directory if all you want to do is sing! sing! sing!
Arraymusic, the Music Gallery and Native Women in the Arts join for a mini-festival celebrating the work of composer, performer and installation artist Raven Chacon; Music and Health looks at the role of Healing Arts Ontario in supporting concerts in care facilities; Kingston-based composer Marjan Mozetich's life and work are celebrated in film; "Forest Bathing" recontextualizes Schumann, Shostakovich and Hindemith; in Judy Loman's hands, the harp can sing; Mahler's Resurrection bursts the bounds of symphonic form; Ed Bickert, guitar master remembered. All this and more in our April issue, now online in flip-through here, and on stands commencing Friday March 29.
Something Old, Something New! The Ide(a)s of March are Upon Us! Rob Harris's Rear View Mirror looks forward to a tonal revival; Tafelmusik expands their chronological envelope in two directions, Esprit makes wave after wave; Pax Christi's new oratorio by Barbara Croall catches the attention of our choral and new music columnists; and summer music education is our special focus, right when warm days are once again possible to imagine. All this and more in our March 2019 edition, available in flipthrough here, and on the stands starting Thursday Feb 28.
In this issue: A prize that brings lustre to its laureates (and a laureate who brings lustre to the prize); Edwin Huizinga on the journey of Opera Atelier's "The Angel Speaks" from Versailles to the ROM; Danny Driver on playing piano in the moment; Remembering Neil Crory (a different kind of genius)' Year of the Boar, Indigeneity and Opera; all this and more in Volume 24 #5. Online in flip through, HERE and on the stands commencing Thursday Jan 31.
When is a trumpet like a motorcycle in a dressage event? How many Brunhilde's does it take to change an Elektra? Just two of the many questions you've been dying to ask, to which you will find answers in a 24th annual combined December/January issue – in which our 11 beat columnists sift through what's on offer in the upcoming holiday month, and what they're already circling in their calendars for 2019. Oh, and features too: a klezmer violinist breathing new life into a very old film; two New Music festivals in January, 200 metres apart; a Music & Health story on the restorative powers of a grassroots exercise in collective music-making; even a good reason to go to Winnipeg in the dead of winter. All this and more in Vol 24 No 4, now available in flipthrough format here.
Reluctant arranger! National Ballet Orchestra percussionist Kris Maddigan on creating the JUNO and BAFTA award-winning smash hit Cuphead video game soundtrack; Evergreen by name and by nature, quintessentially Canadian gamelan (Andrew Timar explains); violinist Angèle Dubeau on 20 years and 60 million streams; two children’s choirs where this month remembrance and living history must intersect. And much more, online in our kiosk now, and on the street commencing Thursday November 1.
Presenters, start your engines! With TIFF and "back-to-work" out of the way, the regular concert season rumbles to life, and, if our Editor's Opener can be trusted, "Seeking Synergies" seems to be the name of the game. Denise Williams' constantly evolving "Walk Together Children" touching down at the Toronto Centre for the Arts; the second annual Festival of Arabic Music and Arts expanding its range; a lesson in Jazz Survival with Steve Wallace; the 150 presenter and performer profiles in our 19th annual Blue Pages directory... this is an issue that is definitely more than the sum of its parts.
In this issue: The WholeNote's 7th Annual TIFF TIPS guide to festival films with musical clout; soprano Erin Wall in conversation with Art of Song columnist Lydia Perovic, about more than the art of song; a summer's worth of recordings reviewed; Toronto Chamber Choir at 50 (is a few close friends all it takes?); and much more, as the 2018/19 season gets under way.
PLANTING NOT PAVING! In this JUNE / JULY /AUGUST combined issue: Farewell interviews with TSO's Peter Oundjian and Stratford Summer Music's John Miller, along with "going places" chats with Luminato's Josephine Ridge, TD Jazz's Josh Grossman and Charm of Finches' Terry Lim. ) Plus a summer's worth of fruitful festival inquiry, in the city and on the road, in a feast of stories and our annual GREEN PAGES summer Directory.
In this issue: our sixteenth annual Choral Canary Pages; coverage of 21C, Estonian Music Week and the 3rd Toronto Bach Festival (three festivals that aren’t waiting for summer!); and features galore: “Final Finales” for Larry Beckwith’s Toronto Masque Theatre and for David Fallis as artistic director of Toronto Consort; four conductors on the challenges of choral conducting; operatic Hockey Noir; violinist Stephen Sitarski’s perspective on addressing depression; remembering bandleader, composer and saxophonist Paul Cram. These and other stories, in our May 2018 edition of the magazine.
In this issue: we talk with jazz pianist Thompson Egbo-Egbo about growing up in Toronto, building a musical career, and being adaptive to change; pianist Eve Egoyan prepares for her upcoming Luminato project and for the next stage in her long-term collaborative relationship with Spanish-German composer Maria de Alvear; jazz violinist Aline Homzy, halfway through preparing for a concert featuring standout women bandleaders, talks about social equity in the world of improvised music; and the local choral community celebrates the life and work of choral conductor Elmer Iseler, 20 years after his passing.
In this issue: Canadian Stage, Tapestry Opera and Vancouver Opera collaborate to take Gogol’s short story The Overcoat to the operatic stage; Montreal-based Sam Shalabi brings his ensemble Land of Kush, and his newest composition, to Toronto; Five Canadian composers, each with a different CBC connection, are nominated for JUNOs; and The WholeNote team presents its annual Summer Music Education Directory, a directory of summer music camps, programs and courses across the province and beyond.
In this issue: composer Nicole Lizée talks about her love for analogue equipment, and the music that “glitching” evokes; Richard Rose, artistic director at the Tarragon Theatre, gives us insights into their a rock-and-roll Hamlet, now entering production; Toronto prepares for a mini-revival of Schoenberg’s music, with three upcoming shows at New Music Concerts; and the local music theatre community remembers and celebrates the life and work of Mi’kmaq playwright and performer Cathy Elliott . These and other stories, in our double-issue December/January edition of the magazine.
In this issue: conversations (of one kind or another) galore! Daniela Nardi on taking the reins at "best-kept secret" venue, 918 Bathurst; composer Jeff Ryan on his "Afghanistan" Requiem for a Generation" partnership with war poet, Susan Steele; lutenist Ben Stein on seventeenth century jazz; collaborative pianist Philip Chiu on going solo; Barbara Hannigan on her upcoming Viennese "Second School" recital at Koerner; Tina Pearson on Pauline Oliveros; and as always a whole lot more!
In this issue: several local artists reflect on the memory of composer Claude Vivier, as they prepare to perform his music; Vancouver gets ready to host international festival ISCM World New Music Days, which is coming to Canada for the second time since its inception in 1923; one of the founders of Artword Artbar, one of Hamilton’s staple music venues, on the eve of the 5th annual Steel City Jazz Festival, muses on keeping urban music venues alive; and a conversation with pianist Benjamin Grosvenor, as he prepares for an ambitious recital in Toronto. These and other stories, in our October 2017 issue of the magazine.
In this issue: a look at why musicians experience stage fright, and how to combat it; an inside look at the second Kensington Market Jazz Festival, which zeros in on one of Toronto’s true ‘music villages’; an in-depth interview with Elisa Citterio, new music director of Tafelmusik Baroque Orchestra; and The WholeNote’s guide to TIFF, with suggestions for the 20 most musical films at this year’s festival. These and other stories, in our September 2017 issue of the magazine!
CBC Radio's Lost Horizon; Pinocchio as Po-Mo Operatic Poster Boy; Meet the Curators (Crow, Bernstein, Ridge); a Global Music Orchestra is born; and festivals, festivals, festivals in our 13th annual summer music Green Pages. All this and more in our three-month June-through August summer special issue, now available in flipthrough HERE and on the stands commencing Thursday June 1.
From science fact in "Integral Man: Music and the Movies," to science fiction in the editor's opener; from World Fiddle Day at the Aga Khan Museum to three Canadians at the Cliburn; from wanting to sashay across the 401 to Chamberfest in Montreal to exploring the Continuum of Jumblies Theatre's 20-year commitment to the Community Play (there's a pun in there somewhere!).
In this issue: Our podcast ramps up with interviews in March with fight director Jenny Parr, countertenor Daniel Taylor, and baritone Russell Braun; two views of composer John Beckwith at 90; how music’s connection to memory can assist with the care of patients with Alzheimer’s; musical celebrations in film and jazz, at National Canadian Film Day and Jazz Day; and a preview of Louis Riel, which opens this month at the COC. These and other stories, in our April 2017 issue of the magazine!
On our cover: Owen Pallett's musical palette on display at New Creations. Spring brings thoughts of summer music education! (It's never too late.). For Marc-Andre Hamelin the score is king. Ella at 100 has the tributes happening. All; this and more.
In this issue: an interview with composer/vocalist Jeremy Dutcher, on his upcoming debut album and unique compositional voice; a conversation with Boston Symphony hornist James Sommerville, as as the BSO gets ready to come to his hometown; Stuart Hamilton, fondly remembered; and an inside look at Hugh’s Room, as it enters a complicated chapter in the story of its life in the complex fabric of our musical city. These and other stories, as we celebrate the past and look forward to the rest of 2016/17, the first glimpses of 2017/18, and beyond!
In this issue: a conversation with pianist Stewart Goodyear, in advance of his upcoming show at Koerner Hall; a preview of the annual New Year’s phenomenon that is Bravissimo!/Salute to Vienna; an inside look at music performance in Toronto’s health-care centres; and a reflection on the incredible life and lasting influence of the late Pauline Oliveros. These and more, in a special December/January combined issue!
In this issue: David Jaeger and Alex Pauk’s most memorable R. Murray Schafer collabs, in this month’s installment of Jaeger’s CBC Radio Two: The Living Legacy; an interview with flutist Claire Chase, who brings new music and mindset to Toronto this month; an investigation into the strange coincidence of three simultaneous Mendelssohn Elijahs this Nov 5; and of course, our annual Blue Pages, a who’s who of southern Ontario’s live music scene- a community as prolific and multifaceted as ever. These and more, as we move full-force into the 2016/17 concert season- all aboard!
Music lover's TIFF (our fifth annual guide to the Toronto International Film Festival); Aix Marks the Spot (how Brexit could impact on operatic co-production); The Unstoppable Howard Cable (an affectionate memoir of a late chapter in the life of of a great Canadian arranger; Kensington Jazz Story (the newest kid on the festival block flexes its muscles). These stories and much more as we say a lingering goodbye to summer and turn to the task, for the 22nd season, of covering the live and recorded music that make Southern Ontario tick.
It's combined June/July/August summer issue time with, we hope, enough between the covers to keep you dipping into it all through the coming lazy, hazy days. From Jazz Vans racing round "The Island" delivering pop-up brass breakouts at the roadside, to Bach flute ambushes strolling "The Grove, " to dozens of reasons to stay in the city. May yours be a summer where you find undiscovered musical treasures, and, better still, when, unexpectedly, the music finds you.
INSIDE: The Canaries Are Here! 116 choirs to choose from, so take the plunge! The Nylons hit the road after one last SING! Fling. Jazz writer Steve Wallace wonders "Watts Goode" rather than "what's new?" Paul Ennis has the musical picks of the HotDocs crop. David Jaeger's CBC Radio continues golden for a little while yet. Douglas McNabney is Music's Child. Leipzig meets Damascus in Alison Mackay's fertile imagination. And "C" is for KRONOS in Wende Bartley's koverage of the third annual 21C Festival. All this and as usual much much more. Enjoy.
From 30 camp profiles to spark thoughts of being your summer musical best, to testing LUDWIG as you while away the rest of so-called winter; from Scottish Opera and the Danish Midtvest, to a first Toronto recital appearance by violin superstar Maxim Vengerov; from musings on New Creations and new creation, to the boy who made a habit of crying Beowulf; it's a month of merry meetings and rousing recordings reviewed, all here to discover in The WholeNote.
2016 is off to a flying start! We chronicle the Artful Times of Andrew Burashko, the violistic versatility of Teng Li, the ageless ebullience of jazz pianist Gene DiNovi and the ninetieth birthday of trumpeter Johnny Cowell. Jaeger remembers Boulez; Waxman recalls Bley's influence, and Olds finds Bowie haunting Editor's Corner. Oh, and did we mention there's all that music? Hello (and goodbye) to the February blues, and here's to swinging through the musical vines of the Year of the Monkey.
What's a vinyl renaissance? What happens when Handel's Messiah runs afoul of the rumba rhythm setting on a (gasp!) Hammond organ? What work does Marc-Andre Hamelin say he would be content to have on every recital program he plays? What are Steve Wallace's favourite fifty Christmas recordings? Why is violinist Daniel Hope celebrating Yehudi Menuhin's 100th birthday at Koerner Hall January 28? Answers to all these questions (and a whole lot more) in the Dec/Jan issue of The WholeNote.
"Come" seems to be the verb that knits this month's issue together. Sondra Radvanovsky comes to Koerner, William Norris comes to Tafel as their new GM, opera comes to Canadian Stage; and (a long time coming!) Jane Bunnett's musicianship and mentorship are honoured with the Premier's award for excellence; plus David Jaeger's ongoing series on the golden years of CBC Radio Two, Andrew Timar on hybridity, a bumper crop of record reviews and much much more. Come on in!
Vol 21 No 2 is now available for your viewing pleasure, and it's a bumper crop, right at the harvest moon. First ever Canadian opera on the Four Seasons Centre main stage gets double coverage with Wende Bartley interviewing Pyramus and Thisbe composer Barbara Monk Feldman and Chris Hoile connecting with director Christopher Alden; Paul Ennis digs into the musical mind of pianist Benjamin Grosvenor, and pianist Eve Egoyan is "On the Record" in conversation with publisher David Perlman ahead of the Oct release concert for her tenth recording. And at the heart of it all the 16th edition of our annual BLUE PAGES directory of presenters profile the season now well and truly under way.
Paul Ennis's annual TIFF TIPS (27 festival films of potential particular musical interest); Wu Man, Yo-Yo Ma and Jeffrey Beecher on the Silk Road; David Jaeger on CBC Radio Music in the days it was committed to commissioning; the LISTENING ROOM continues to grow on line; DISCoveries is back, bigger than ever; and Mary Lou Fallis says Trinity-St. Paul's is Just the Spot (especially this coming Sept 25!).
