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Volume 24 Issue 8 - May 2019

  • Text
  • Theatre
  • Symphony
  • Concerts
  • Singers
  • Arts
  • Jazz
  • Choral
  • Musical
  • Toronto
  • Choir
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!

Beat by Beat | World

Beat by Beat | World View Polyphonic and Modal Musical Mastery Usher in the Spring ANDREW TIMAR Spring is a season of renewal. As the last of the dirty snow melts away, grass greens around us, tree buds begin to plump and birds return to song, we’re reminded that the season is connected to some of humanity’s deepest values and hopes. That optimism is reflected in major cyclical religious holidays celebrated round the world – Holi, Nowruz, Passover and Easter – each of which possesses an extensive song list. While these spring-launch festivals will have taken place by the time you read this, there still remains the balance of the season to explore in music the many sacred and profane rites of spring associated with the vernal equinox. Please use this column as your guide to some of its rich abundance in our Greater Toronto Area communities. In this issue I’ll be exploring ethnic pluralism, aka cultural diversity as performed in music, in three stories. First is a preview of the second season of Labyrinth Ontario, modal music’s Toronto outpost, then a segue to the Toronto leg of the Canadian tour of a choir from the Republic of Georgia, finally arriving, in my Quick Picks, at the smorgasbord of musical offerings this season. Labyrinth Musical Workshop Ontario Speaking of renewal, Labyrinth Music Workshop Ontario, an organization “dedicated to promoting the study and enjoyment of global traditions of modal music,” is launching its second season of workshops, capped by a concert. In its inaugural season, the full range of spirit of an extended modal family was reflected in Labyrinth’s remarkably ambitious lineup featuring nine week-long workshops, twelve concerts, plus two panel discussions. Eleven masters of Greek, Turkish, Bulgarian, Iranian, Azerbaijani, Arabic, Kurdish and Afghani music traditions gave lessons and performed. Historically these musical cultures have interacted variously in and between their homelands, but last year’s Toronto concerts reflected an intensified interaction perhaps only possible on the ground here today. Ethnomusicologist Rob Simms, a Labyrinth Ontario board member, provided an overview on the site’s blog. “Labyrinth’s inaugural season offered attendees an immense wealth of practical insights into the technique and craft of modal music, inspiring performances, and valuable lore and wisdom regarding the larger context of contemporary modal cultures, straight from the source of some of the most important representative artists. “While there was much great music making going on, I was particularly struck by the reminder that true mastery goes beyond playing to knowing what really matters on a deeper cultural, aesthetic, and ultimately spiritual level with this music—and being it, living it. … Toronto’s Danforth and Chester neighbourhood is quite likely the modal musical centre of the planet for the month of May!” Ross Daly, a musician of international influence and founder in 1982 of the original Labyrinth centre in Crete – after which Labyrinth Ontario is modelled–- was on hand for the duration of last year’s events. An eloquent spokesman for contemporary modal music, Daly offered thought-provoking perspectives at the panel discussions on many aspects of his long, inspiring career. He spoke to the relationship of individuals to tradition, building a repertoire, the balance of study and intuitive creativity, aesthetic preferences, the dynamics of audiences, the effect of recordings on learning and performing, and on the role of “cultural outsiders.” These are all issues very pertinent to Canadian musicians in this scene too. Labyrinth Ontario June 2019 Workshops Daly again plays a central role in this year’s Labyrinth activities. June 3 to 7 he will blend lecture, demonstration, performance and handson composition in his workshop, drawing on his decades of study of modal traditions. A modal heads-up: while the workshop is suitable for performers and composers of all levels and backgrounds, an “instrument capable of playing quarter-tones” is recommended. All workshops will be held at Eastminster United Church, 310 Danforth Ave., Toronto Running concurrently, Cretan lyra virtuosa Kelly Thoma leads a workshop on her instrument covering technique and repertoire, serving as an introduction to Cretan music and to her compositional and performance practice. Award-winning Bulgarian diva Tzvetanka Varimezova brings her decades of experience as a choir director and solo vocalist to cover vocal techniques and several styles of Bulgarian song in her class. The following week on June 10 to 14, Araz Salek (tar) and Hamidreza Khalatbari (kamanche) jointly offer an Introduction to Iranian Music covering the fundamentals of Iranian modal music, while tombak virtuoso Pedram Khavarzamini teaches Percussion Cycles drawing on his deep intercultural study of cyclic rhythmic patterns in his workshop. Kelly Thoma Ross Daly 36 | May 2019 thewholenote.com

Araz Salek Didgori Ensemble Labyrinth Ontario’s concert Saturday June 8, Labyrinth Ontario presents Modal Music Summit at Eastminster United Church, the concert tying together various threads explored by workshop leaders, including Ross Daly, the group This Tale of Ours (Daley, Thoma, Salek and Khavarzamini), plus vocalist Varimezova. I spoke recently with Labyrinth’s artistic director, Araz Salek, about the organization’s first year. One of the healthiest aspects of the inaugural concerts was the mixed audiences, he told me. “They were not just drawn from the music’s community of origin, but also attended by Torontonians eager for something new. That’s in the core missions of Labyrinth: to encourage audiences to experience and then enjoy musics beyond what they listen to day to day. We believe audiences can develop a taste and ear for modal music traditions. We can learn to appreciate musics other than those we’ve grown up with.” Why is that important? “Because that experience ultimately enriches our lives. Many of us look forward to exploring cuisines we didn’t grow up with, eventually developing a taste for diverse food and drink: why not music?” Salek cautions against easy solutions, however. “Musicians from modal traditions often aim to make their music palatable to a broad international audience. All too often this results in reducing its essential characteristics to the lowest common denominator that the music shares with Western models. That’s the opposite of what we’re trying to do at Labyrinth. We encourage musicians, their students and our audiences to reach for what’s essential in each musical tradition, and to develop it. Getting rid of microtones, modality and shoehorning melodies and performance practices into a Western framework, compromises the cultural voice of the individual culture represented.” Cultural bridges are crucial, Salek reminds us, “but it takes good will, time and considerable effort to build a sturdy and elegant bridge that accommodates both sides without compromise.” This insight is useful for musicians to keep in mind when embarking on transcultural musical collaborations. Didgori Ensemble in Canada Didgori Ensemble is an award-winning six-voice choir from the Republic of Georgia performing the country’s unique polyphonic choral repertoire. Since 2004, the have toured Russia, UK, France, Switzerland, Poland, the Czech Republic, Latvia, Uzbekistan, Turkey and Israel. Late in May into mid-June their Canadian tour promises to be a huge moment for Georgian music in Canada, an opportunity that happens perhaps once in a lifetime. How uncommon is this? The only time a choir from Georgia toured Canada previously was in the 1970s. Co-sponsored by a consortium of Toronto, Edmonton, Winnipeg and Quebecois producers, Didgori’s tour kicks off with a concert and workshop at the Edmonton International Choral Festival. The Winnipeg Singers then present them in Manitoba before they travel to Toronto, followed by dates in Kingston and Quebec. Declared by UNESCO in 2001 as an Intangible Cultural Heritage of Humanity, the millennial-old Georgian polyphonic singing tradition, with its close harmonies and un-tempered scales, is a visceral experience. It features three-part singing in a variety of regionally based styles, ranging from melismatic lyrical singing and drones, to relaxed urban songs, to exploding “crunchy” counterpoint, reflecting the old, diverse and complex Georgian social and physical landscape. The Didgori singers are acknowledged masters of a variety of Georgian musical styles. They are dedicated to the traditions of their ancestors through the mastery and popularization of Georgian polyphonic folk songs and liturgical chants. Didgori’s very name honours the 1121 battle that helped reunite Georgia and usher in a period of growth in arts and culture. Didgori Ensemble in Toronto: concert and workshops Friday June 7, three Toronto arts organizations – MusiCamp, Clay & Paper Theatre and Folk Camp Canada – present Didgori Ensemble at Jeanne Lamon Hall, Trinity-St. Paul’s Centre. On June 8, Didgori gives a public Georgian choral workshop from 5 to7pm at the St. Vladimir Institute, 620 Spadina Ave. Then on Sunday, June 9, MusiCamp holds a five-hour Georgian choral workshop with Didgori at the MusiCamp Studio, 11 Cobourg Ave. from 11am thewholenote.com May 2019 | 37

Volumes 21-24 (2015-2018)

Volume 24 Issue 8 - May 2019
Volume 24 Issue 7 - April 2019
Volume 24 Issue 6 - March 2019
Volume 24 Issue 5 - February 2019
Volume 24 Issue 4 - December 2018 / January 2019
Volume 24 Issue 3 - November 2018
Volume 24 Issue 2 - October 2018
Volume 24 Issue 1 - September 2018
Volume 23 Issue 9 - June / July / August 2018
Volume 23 Issue 8 - May 2018
Volume 23 Issue 7 - April 2018
Volume 23 Issue 6 - March 2018
Volume 23 Issue 4 - December 2017 / January 2018
Volume 23 Issue 3 - November 2017
Volume 23 Issue 2 - October 2017
Volume 23 Issue 1 - September 2017
Volume 22 Issue 9 - Summer 2017
Volume 22 Issue 8 - May 2017
Volume 22 Issue 7 - April 2017
Volume 22 Issue 6 - March 2017
Volume 22 Issue 5 - February 2017
Volume 22 Issue 4 - December 2016/January 2017
Volume 22 Issue 2 - October 2016
Volume 22 Issue 1 - September 2016
Volume 21 Issue 9 - Summer 2016
Volume 21 Issue 8 - May 2016
Volume 21 Issue 6 - March 2016
Volume 21 Issue 5 - February 2016
Volume 21 Issue 4 - December 2015/January 2016
Volume 21 Issue 3 - November 2015
Volume 21 Issue 2 - October 2015
Volume 21 Issue 1 - September 2015

Volumes 16-20 (2010-2015)

Volumes 11-15 (2004-2010)

Volumes 6 - 10 (2000 - 2006)

Volumes 1-5 (1994-2000)