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.
the North American and
the North American and European tectonic plates which are gradually moving apart at a rate of a millimetre or two per year; a number of unbelievable waterfalls, various hot springs and geysers and the black sand beaches of Vik. Most striking was the stark, treeless landscape and the barren hillsides dotted with Iceland’s miniature horses and endless sheep. And why am I telling you all this? I believe that trip gave me the background to truly appreciate the starkness of the next disc. Icelandic-born cellist Sæunn Thorsteinsdóttir has just released Vernacular (Sono Luminus DSL-92229 saeunn.com/vernacular) which includes world premieres of solo works written for her by three of the current generation of Icelandic composers, and a contemporary classic by senior composer Haflidi Hallgrímsson (b.1941). Composer Hallgrímsson is a cellist in his own right (and incidentally was in the trio ICE with Robert Aitken and composer/pianist Thorkell Sigurbjörnsson during the 1970s). He composed Solitaire for solo cello in 1969 and it was his first published work, later revising it to its current form two decades later. Thorsteinsdóttir says that from the first time she played the work she felt a connection “not only to the music, but also beyond the music.” The idiomatic writing is like “playing [with Hallgrímsson’s] hands… getting to know a fellow musician in this physical way is satisfying and humbling at the same time.” After the extremes of the first three pieces on the disc, Solitaire is a welcome relief. A five-movement work, it opens with Oration employing simultaneous left-hand pizzicato beneath a soaring bowed melody. Serenade is played entirely without the bow while the central Nocturne is richly melodic in a meditative way. This is followed by a Dirge which the composer says “is lyrical in nature and hints at darker thoughts, leading eventually to the last movement which is a lively and energetic Jig.” This performance makes clear why Solitaire is regarded as a seminal and significant exploration of “the sound world… available to the contemporary cellist,” at least as perceived in 1969. As mentioned, the recent works on this recording explore more extreme notions. The disc begins with Páll Ragnar Pálsson (b.1977), a rock musician who has recently come to the world of art music. He studied with Helena Tulve at the Estonian Academy of Music where he received a PhD and in 2017 released his first album as a composer. In 2018 his Quake for solo cello and chamber orchestra was a selected work at the International Rostrum of Composers in Budapest, which marked his first collaboration with compatriot Thorsteinsdóttir. The solo work Afterquake is a direct outgrowth of that project. This is followed by 48 Images of the Moon by Thurídur Jónsdóttir (b.1967), thewholenote.com/listening which combines solo cello with quiet natural sounds from a field recording made at night in an Icelandic fjord by Magnús Bergsson. The entire piece takes place in barely audible gestures with only a rare pizzicato pop rising above the field. Halldór Smárason (b.1989) contributes a three-movement work simply titled O. Thorsteinsdóttir tells us that “In Iceland, darkness in the winter months has created a need for light and warmth for centuries, and candles continue to be a source for both. This piece explores the meaning and associations with the intimacy, warmth, and the wild yet contained energy of the light of the candle and its effect on the darkness surrounding it.” As effective as this depiction is, it only makes me the more content to have visited Iceland during the days of the midnight sun. This month’s final disc also contains new works for solo cello, but with a very different premise. Guided by Voices – New Music for Baroque Cello (Analekta AN 2 9162 analekta.com/en/) features works written for Elinor Frey. Frey, an accomplished cellist comfortable in the music of all eras but particularly known for her early music acumen, says: “When modern composers write a new piece for ‘Baroque’ cello it becomes an instrument of today, helping to expand the sound worlds of both the cello and new music audiences.” The breadth of vision and diversity of voices represented here certainly support this. Scott Edward Godin’s piece, which gives the album its title, “draws inspiration from the life and oeuvre of Saint Hildegard of Bingen, […and] exploits the obsessiveness found within recurring melodic units of Hildegard’s music, deconstructing these units before reconstructing them in a new musical framework.” Those familiar with Hildegard’s long, sustained melodies may be surprised by the level of activity in Godin’s creation, but strains of her melodies do peek through the busyness. Minerva, says composer Lisa Streich “imagines a goddess who, almost like an octopus, helps with or stands for many things at once – a goddess of everything. She reminds me of the human being of the future, a human fully endowed with equal rights, who, according to Global Gender Gap Reports, should exist in 217 years.” Frey dedicates her project to Maxime McKinley with gratitude for his “humour and kindness.” McKinley’s own contribution, Cortile di Pilato, was inspired by a courtyard in Bologna surrounded by the Basilica of Santo Stefano, a complex of four churches built on a foundation begun in the fifth century that was itself built on a temple dedicated to the Egyptian goddess Isis. He says: “I was interested in the ‘copresence’ of different epochs in the same place that create a thread among many centuries. This pleased me, particularly when writing a piece for Baroque cello and harpsichord.” For this performance Frey is joined by Mélisande McNabney. Like the McKinley, Linda Catlin Smith’s Ricercar was commissioned with the support of Toronto philanthropist, the late Daniel Cooper. It is perhaps the most “Baroque” of the pieces on offer here; played with little or no vibrato, the melody gently unfolds and grows. But gradually it expands through other sound worlds as the melody is supported by double and triple stops that produce some close harmonies, some wide interval jumps and, toward the middle of the piece, a driving rhythmic pulse. This eventually gives way to a quiet section before building dramatically again and receding once more. Ken Ueno says Chimera “is a kind of meta-suite in five movements, one that traverses time. Starting with a contemporary recasting of a prelude, the following movements gradually approach a ghost of the Baroque.” Frey seems at home in all the realms this journey presents her with, be it just intonation, microtonality, hectic virtuosity or stasis. It is our good fortune to accompany her. John Zorn: Chamber Music Molinari Quartet Recognized as a major influential figure in contemporary jazz and the avant-garde, John Zorn is the focus of the latest recording by Molinari Quartet. Handel – Dixit Dominus; Bach & Schütz – Motets Ottawa Bach Choir; Lisette Canton The Ottawa Bach Choir presents works by three of the most important composers of the German Baroque period – Handel, Schütz and Bach. We 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. David Olds, DISCoveries Editor discoveries@thewholenote.com 70 | April2019 thewholenote.com
STRINGS ATTACHED TERRY ROBBINS Ascent is the first solo album by the 26-yearold American violist Matthew Lipman, and also marks his debut on the Cedille Records label (CDR 90000 184 cedillerecords.org). He is accompanied by his regular duo partner, American pianist Henry Kramer. The creative process behind the CD started when Lipman asked American composer Clarice Assad to write a fantasy piece for viola and piano in memory of his mother. Lipman chose the Ascent title to describe the album’s music and “the upward movement that happens throughout life and after.” The opening track is the Phantasy for Viola and Piano Op.54 from 1914 by the English composer York Bowen. It’s a simply gorgeous work which perfectly showcases the warmth, lightness and agility of Lipman’s playing as well as the top-notch contribution from Kramer. The standard never drops throughout the world premiere recording of Assad’s two-part Metamorfose or Robert Schumann’s four Märchenbilder Op.113. Fuga libre by the Irish violist and composer Garth Knox is the only solo viola work on the CD. Written in 2008 for the Tokyo International Viola Competition, it uses some really interesting effects, including quite fascinating harmonic glissandi. Shostakovich’s very brief (at 1:56) Impromptu for Viola and Piano Op.33, written in 1931 but not discovered until 2017, is another world premiere recording, Lipman having managed to obtain a pre-publication transcript of the score from the DSCH Publishing House. A viola arrangement of Franz Waxman’s virtuosic Carmen Fantasie brings an outstanding CD to a close, Lipman’s flawless technique, beautiful tone and consummate musicianship making for viola playing as fine as any you will hear. It’s difficult to think of a more exciting duo than violinist Alina Ibragimova and her long-time pianist partner Cédric Tiberghien. Their 3-CD live recital set of the complete Beethoven violin sonatas contained some electrifying performances, and they bring the same level of playing to their latest CD, Vierne & Franck: Violin Sonatas, a recital of works that pay homage in their own ways to 19th-century musical thinking, their fairly dense textures and serious nature being qualities that would be rejected in post-WWI Paris (Hyperion CDA68204 hyperion-records.co.uk). The Poème élégiaque Op.12 by Eugène Ysaÿe opens the CD – and what an opening it is! Published in the piano version in 1893 and the first of Ysaÿe’s nine Poèmes for string instruments and orchestra, it was inspired by the death and funeral scenes from Shakespeare’s Romeo and Juliet and employs scordatura tuning for darker colour, the low G string being tuned down to F. It’s a rhapsodic, passionate work that perfectly showcases this duo’s strengths: tone, nuance, intelligence, passion, commitment, and flawless technical assurance. César Franck’s Violin Sonata in A Major was written in 1886 as a wedding present for Ysaÿe; it’s been popular for so long that hearing it again is like revisiting an old and treasured friend, and the visit here is a truly lovely one. The connections between the works on the disc continue with Louis Vierne’s outstanding Violin Sonata in G Minor Op.23. Vierne was a pupil of Franck, and this sonata was written at Ysaÿe’s request and premiered by him in 1908. It’s a sweeping work much in the style of the Franck, and deserves to be much better known. The brief Nocturne from 1911 by the 18-year-old Lili Boulanger, Nadia’s younger sister, acts as a light dessert after the richness that has preceded it, and ends a CD of music-making of the highest order. Whenever there’s another CD from the always wonderful Steven Isserlis in the new releases, you just know you’re in for something special, and so it proves yet again with Shostakovich & Kabalevsky Cello Sonatas, Isserlis being joined by his recital partner of over 30 years, pianist Olli Mustonen (Hyperion CDA68239 hyperion-records.co.uk). The Shostakovich Sonata in D Minor Op.40, written in 1934 when the composer was in his late 20s, sets the tone for the whole CD, Isserlis displaying his usual full-blooded and passionate, yet always sensitive and musically intelligent playing, especially in the opening movement and the fiendish and demonic second. Mustonen is his equal in every respect. Prokofiev’s Ballade in C Major Op.15 is an early work from 1912 when the composer was only 21; it is essentially in two halves, Prokofiev referring to it as “similar in form to a sonata in two movements.” There’s no doubting the strength and quality of Kabalevsky’s Sonata in B-flat major Op.71, written for Rostropovich in 1962. Isserlis notes that this is a work that should really be heard more often, and his performance here makes an even stronger case. Three short works round out the CD. Shostakovich’s brief (at 2:31) Moderato was only published in 1986 after being discovered in a Moscow archive alongside the manuscript of the Cello Sonata. It’s believed to be from the same period, but its real provenance remains unknown. Prokofiev’s Adagio – Cinderella and the Prince is a 1944 arrangement of a section from his ballet Cinderella. Kabalevsky’s Rondo in memory of Prokofiev Op.79 was the third of three test-piece Rondos he wrote for the Tchaikovsky Competition in Moscow – one for piano in 1958, one for violin in 1962 and this one in 1965. It’s quite substantial, with more than a hint of Prokofiev’s music, especially the wispy “wind-in-the-graveyard” effect from the first violin sonata. In his usual outstanding booklet notes Isserlis includes his customary exact timing references to salient points in the works, adding an extra touch of class to a simply outstanding CD. In his introductory booklet notes to Bach: The Cello Suites (Hyperion CDA68261 hyperion-records.co.uk) the German cellist Alban Gerhardt reveals that, like so many others, he was reluctant to even try recording these challenging works before turning 50 – which he does this coming May. He is also aware that any recording can never be a final word. For some time Gerhardt studied Baroque performance practice, but felt his attempts to assimilate historically informed techniques didn’t work for him, his playing sounding “neither authentic nor musically very interesting. I came to realize that just turning off the vibrato and using a sound which barely touched the surface of the string actually had very little to do with historical performance and didn’t sit well with me as a musician.” He consequently uses vibrato “with great care and control” and aims for “a seemingly effortless articulation with as much depth to the sound as possible.” Add Gerhardt’s 1710 Matteo Gofriller cello and the results are simply beautiful. It’s a set that easily holds its own in a very competitive field. With the BIS Super Audio CD Tan Dun: Fire Ritual – Violin Concertos we enter the distinctive sound world of the Chinese composer Tan Dun, now in his early 60s. The Norwegian violinist Eldbjørg Hemsing has been collaborating with the composer since 2010, a relationship which resulted in the creation of both of the works on the CD: the thewholenote.com April2019 | 71
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!).
