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.
in their respective
in their respective solos. Gross’ solo, which begins as a duet with Poole, is a highlight, as is Poole’s own brief solo over the vamp that precedes the melody. In Pacific’s liner notes, Phil Dwyer writes that the album is, perhaps, evocative of the Larry Young album Unity, and the comparison is apt. But the album is made special by the band’s commitment to its constituent voices, to Turner’s compositions, and to honouring the unique musical moments found throughout this compelling album. Colin Story No Hay Banda The Counterfictionals Good Music GMCD006 (counterfictionals.dk) !! Rarely, if at all, do industrial and fine art come together in a package so well thought out (from concept and presentation to imaginative musical execution, and in the sheer invention and hyper virtuosity of the performing Danish musicians) than on the Counterfictionals production entitled No Hay Banda. No Hay Banda has been conceived of and directed by Kristoffer Rosing-Schow, a multiinstrumentalist who plays everything from bass clarinet to invented instruments such as the hydrofonium, described here complete with diagram, how it works and, best of all, how ethereally beautiful it sounds. Speaking of which there is the not-so-small matter of the music itself. The ten songs, bring back to life key scenes in famously well-made and notoriously badly made films from David Lynch’s Mulholland Drive (Counterfictionals’ song: Club Silencio), Sergio Leone’s For a Few Dollars More (song: Lee Van Cleef) to Alan Parker’s Angel Heart (song: Looking for Johnny Favorite) and Lars von Trier’s Antichrist (song: The Three Beggars). In each case, brilliant musicians get closer to the chilling, sardonic heart of the film – scenes depicted in the songs with immensely powerful performances combining cast-iron virtuoso discipline with heady imagination and sheer fantasy, all of which matches the originality of Rosing-Schow’s artistry and vision. Let neither the ironic band name nor the album title be lost in this magnificent mêlée of music either, for what could a name such as Counterfictionals suggest but No Hay Banda (There’s no band)? Raul da Gama Rosa Parks: Pure Love Wadada Leo Smith Tum CD 057 (tumrecords.com) !! Since 2012, trumpeter Wadada Leo Smith has created several powerfully elegiac suites: Ten Freedom Summers, Occupy the World, The Great Lakes and America’s National Parks. With Rosa Parks: Pure Love, he returns explicitly to the theme of the first, the African-American civil rights movement. Rosa Parks is an oratorio, with music and songs by Smith, employing his distinctive compositional method that focuses on contrasting durations and textures. Smith’s heterodox ensemble includes a string quartet, a trumpet quartet, drums, electronics, pipa and three singers. From the dissonant fanfare, Smith has compounded his own idiom, at once intimate and multi-dimensional, in which strongly lyrical passages alternate with moody, atonal strings and sometimes harsh, flaring brass. Strong individual voices emerge out of the fissures opening in the collective sound: violinist Mona Tian, cellist Ashley Walters, drummer Pheeroan akLaff and Smith himself, soloing only in the penultimate movement. Smith has matched each song’s character, as well as range, to each singer’s voice: Karen Parks’ touch of gospel; Carmina Escobar’s hard-edged precision; and Min Xiao-Fen’s soaring command of microtones. Each brings a special presence to Smith’s multicultural palette. Embedded in the oratorio are excerpts of early recordings by Smith and close associates Anthony Braxton, Leroy Jenkins and Steve McCall, musicians who first played free music together 50 years ago, and who are, by extension, partners in Smith’s ongoing commemorations of the necessary struggles for freedom, reinforced in his concluding quotation from Martin Luther King. Stuart Broomer Moya Ivan Mazuze Losen Records LOS 209-2 (losenrecords.no/release/moya) !! With his fourth album, Mozambiqueborn saxophonist and composer Ivan Mazuze, now based in Norway, continues his exploration of interrelations between traditional and contemporary music. The result is Moya, an elegant synthesis of the melodies and rhythms of African and Indian music with contemporary jazz elements. Mazuze is a polished and particularly sensitive saxophone player. His musical language is both delicate and passionate, his expression clear and meaningful. This album also features a wonderful crew of musicians from around the globe, including Olga Konkova (on piano), who has a great synergy with Mazuze, and Bjørn Vidar Solli (on guitar), who delivers some truly impressive solos. Moya opens with contemplative Rohingya. Inspired by the Rohingya people of Myanmar who were recently displaced from their homeland, this piece has a melancholy feel driven by a rhythmical tabla pulse. It flows naturally into Mantra, a lively tune featuring an alluring combo of vocal chanting and instrumental discourse. The most interesting track on the album for me is Lunde, inspired by Norwegian folk music and highlighting cool vocals by Hanne Tveter. And there is Moya, the focal point of the album. It’s meaning in the Mozambican language is spirit/soul and it is immediately apparent that it holds special significance for Mazuze. The interplay between sax and piano captivates the listener with changing colours and meaningful dialogue. This album has funky grooves, soulful melodies and, most importantly, a distinct and catchy sound. Highly recommended. Ivana Popovic POT POURRI Vanishing Fides Krucker; Tim Motzer 1k recordings 1K043 (1krecordings.com) ! ! For 35 years Toronto-based classically trained vocalist Fides Krucker has explored contemporary vocal practice on the highest level as a singer in contemporary opera, interdisciplinary and electroacoustic works, as well as in chamber music and orchestral settings. Her career has taken her to numerous international stages. She’s appeared on diverse albums and film and video productions. The phrase I found on my search engine while looking for Krucker’s website is, “emotionally integrated voice.” And her performance on the six Vanishing tracks powerfully delivers just that. She projects a wide palette of emotions through her voice alone, employing vocal techniques that move comfortably between classical Western and extended voices, often without lyrics. Krucker is superbly supported on Vanishing by Tim Motzer a veteran Philadelphia jazz/improvising guitarist with 80 albums to his credit. He is best known for his textural acoustic-electro guitar playing 80 | April2019 thewholenote.com
utilizing looping, bowing, sampling, electronics and various prepared techniques, all richly displayed on Vanishing. The album is cinematic in scope. In its spontaneously composed sonic world each scene in the undefined – sometimes airy and melodically lush, sometimes unsetting – vocal storyline is created though the intimate musical dialogue between Krucker and Motzer. My favourite track is the epic-length Density, which according to the liner notes, “Broods on the state of the world, gathers weight with each motif, steps the listener outside of civilized sound.” Some days taking a walk on the sonic wild side is what the doctor should order. Andrew Timar In This Body Fides Krucker; Rob Clutton; Tania Gill; Germaine Liu Independent FK-01-2018 (fideskrucker. com/productions/in-this-body) !! Anyone who knows the multidimensional and multi-disciplinary work of Fides Krucker is naturally going to wonder how much of the dance and – more importantly – the theatre that defines Krucker’s art this CD is going to capture. It is, after all merely audio. Fortunately, however, Krucker is a highly evocative vocalist and she spares nothing to imbue her music with atmosphere and even the nuanced auras of her often spiritual and always colourful work. Even with the suggested stasis of the title, In This Body, one cannot help but imagine the body in motion. This is a work by Krucker, remember? True to form she creates a kind of series of one-woman operatic arias. Each is expressed in an inimitable manner which can only be associated by someone like Krucker. Her version of Leonard Cohen’s iconic piece Suzanne is turned from something almost impressionistic-Cohenesque into a work of extraordinary sensuality in an almost Nabokov-like (Lolita) manner. Another wildly sensual track – Striptease – follows this one. But Krucker also rings in the changes of mood and emotion, structure and tempo with Mary Margaret O’Hara’s Body’s In Trouble, Leslie Feist’s Let It Die, k.d. lang’s Hain’t It Funny and, of course, the forlorn and classic song Helpless by Neil Young. Along the way, Krucker is magnificently aided by bassist Rob Clutton, pianist Tania Gill and percussionist Germaine Liu. Together the musicians propel Krucker into a rarefied artistic realm where she and her music truly belong. Raul da Gama Talismã Mark Duggan Independent (markduggan.com/talisma) !! Percussionist Mark Duggan demonstrates his wide-ranging abundant musical talent in this project rooted in the Brazilian styles of samba, bossa nova and choro. Be it as a composer of four tracks, arranger of six Brazilian classics, and lead and chamber performer throughout, with outstanding musicians Louis Simão, contrabass and accordion, and Marco Tulio, violão (Portuguese guitar), Duggan’s understanding of vibraphone intricacies, compositional form/ style and listening skills create music for everyone to enjoy, regardless of one’s stylistic preferences. The trio plays the covers with respect and intelligence. Astor Silva’s Chorinho no Gafieira opens the recording with an upbeat happy start, thought-out vibraphone lines, good instrumental balances, and a simple yet colourful middle section. Antonio Carlos Jobim’s Triste has slight dynamic modulations and clear phrasing with the violão chords and contrabass keeping the faster vibes part grounded to the final Jobim chord. Duggan’s compositions are great. In his Above the Rain, the hypnotic two-note accordion start, with up-and-down melodic lines, is followed by vibraphone runs, which at times double and contrast the accordion chordal swells and staccato notes. Irresoluto is slightly more atonal yet rooted in rhythmic/melodic tradition, while Shifting Sands features a relaxing more traditional vibes melody with background bass groove, and instrumental dialogue throughout. Duggan’s firm grasp of the samba form in Samba des Nues is heard in its contrabass/violão rhythmic opening, florid lines and slower ending. Perfect production values complete Duggan’s smart, nuance-abundant, Brazilian music-flavoured release. Tiina Kiik The Art of the Vietnamese Zither – Đàn Tranh Tri Nguyen ARC Music EUCD2826 (arcmusic.co.uk) !! This album features the subtly expressive Vietnamese plucked zither đàn tranh, which belongs to the widely distributed family of Asian long zithers. Its cousins are the Chinese zheng and qin, Japanese koto, Korean kayageum, as well as the çatkhan of the Khakass of southern Russian Siberia and the kacapi of the Sundanese of West Java, Indonesia. Born into a family of literati in South Vietnam, Trí Nguyen began his music studies at an early age on the piano with Frenchtrained teachers, eventually continuing them in Paris. His family however was strongly attached to its ancestral Vietnamese culture and also arranged đàn tranh lessons for Nguyen with the noted master Hai Bieu. Nguyen’s bi-cultural training positions him well to pursue his goal of taking traditional Vietnamese music to international audiences, combining Vietnamese musics with global genres and instruments. His approach has already garnered success: his 2015 debut album Consonnances won the Global Music Award Gold Medal for world music. In The Art of Vietnamese Zither, Nguyen draws on this bi-musicality, presenting the đàn tranh in a transcultural context. The closing tracks are up-tempo nods to a worldmusic style aimed at broad audience appeal in which he adds other Vietnamese instruments, the oud and darabuka (goblet drum). The most impressive aspect of the album however is the suite presented in the first nine tracks. Effectively arranged for his đàn tranh and Western string quartet, they feature melodies borrowed and adapted from the six schools of traditional Vietnamese music he inherited from his master Bieu. Andrew Timar thewholenote.com April2019 | 81
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!).
