In this issue: The Toronto Brazilian bateria beat goes on; TD Jazz in Yorkville is three years young; Murray Schafer's earliest Wilderness forays revisited; cellist/composer Cris Derksen's Maada'ookkii Songlines to close Luminato (and it's free!); our 15th annual Green Pages summer music guide; all this and more in our combined June/July/August issue now available in flipthrough format here and on stands starting Thursday May 30.
FEATURE THE TD TORONTO
FEATURE THE TD TORONTO JAZZ FESTIVAL The Revisioning Continues COLIN STORY Asiko Afrobeat Ensemble DOMINIC ALI marks an interesting anniversary for the 2019 TD Toronto Jazz Festival. A mere three years ago, in 2016, the TJF looked much different than it will this year, or even than it did in 2017, when it first made the move from Nathan Phillips Square to Yorkville. Of the many changes that took place between 2016 and 2017, there are three that seem most significant. The first: instead of anchoring the outdoor festivities around large, ticketed tent shows, the TJF’s outdoor shows would be free, and would, for the most part, feature local or up-and-coming acts. The second: by moving from Nathan Phillips Square to Yorkville, the TJF sought to integrate itself within a pre-existing commercial (and residential) area that is largely pedestrian, automatically expanding the potential attendance pool of the free outdoor shows to people who just happen to find themselves in the area, and making it easy for festival veterans to “make a day of it.” (One could, of course, wander around Nathan Phillips Square, but it was hard to find a passable beer, a cup of coffee, or even, say, a salad on the premises. Even the most ardent jazz fan found it tough to do a whole day at the festival as it existed at NPS.) And the third: the TJF would discontinue the longstanding practice of automatically including all of Toronto’s jazz (and jazz-adjacent) clubs in TJF materials, with no input as to those clubs’ programming and no real control over attendee experience, reducing the breadth of the festival’s offerings in order to focus on depth. Personally speaking, while I was out of town touring for most of the TJF’s inaugural Yorkville run in 2017, last year I had the opportunity to both play in the festival (on an outdoor stage on Cumberland, as well as indoors at The Pilot) and to attend a variety of shows, including Dan Weiss’ Starebaby group, a ticketed event at The Rex, Savion Glover and Marcus Gilmore’s duo show at Koerner Hall, also ticketed, and a healthy number of free shows that took place at (mostly) outdoor stages. (For those with an interest in last year’s TJF, please visit The WholeNote website to check out the pieces I wrote.) As a performer and as a spectator, I genuinely enjoyed myself; though it lacked the large open space of NPS, the area’s village-esque qualities ended up lending themselves well to a multi-stage set-up with staggered set times. It felt, as I wrote last year, festive, for the first time in my experience of a jazz festival in Toronto. In mid-May, I had the opportunity to have a conversation with Josh Grossman, the Artistic Director of Toronto Downtown Jazz (the organization that administers and runs the TD Toronto Jazz Festival) to talk about these relatively recent large-scale changes to the TJF’s format, the unique aspects of this year’s festival, and the TJF’s future in its new home. In order for a festival to feel immersive, a sense of momentum must be cultivated within the grounds, Grossman says. Audiences should be able to move naturally from one event to the next, without ever feeling as though they’re waiting around with nothing to see. When Grossman looked at other jazz festivals, such as Ottawa or Montreal, or even other festivals within the city, including those that occur at Harbourfront Centre, he took note of the way in which there were events “happening all the time on multiple stages,” which he felt the TJF “couldn’t ever get at Nathan Phillips Square.” One of the biggest problems? The “relatively strict sound restrictions in place” at NPS, owing to its proximity to City Hall and to the courts, which, as Grossman told me, also made the development of any serious sense of momentum difficult. Mounting frustrations with the festival’s old location coincided with the appointment of Howard Kerbel as Downtown Toronto Jazz’s new CEO in 2016. Kerbel – who was previously a member of the Toronto International Film Festival’s leadership team, and had, according to Grossman, “fond memories of how TIFF ran in Yorkville,” before its move to King Street and the TIFF Bell Lightbox facility – helped to initiate the move away from NPS at a time when there was a dearth of multi-day festival activity in Yorkville. Finding the business community and local leadership amenable to the idea of the TJF in Yorkville, the timing was right for Toronto Downtown Jazz to make the move. 18 | June | July | August2019 thewholenote.com
MARIE BYERS One of the best parts of the TJF, in its current iteration, is the proliferation of free outdoor stages. Beyond helping to fulfil a vision of a festival with porous borders, the free stages have tended to skew local and young-ish in their programming. This is, of course, helpful for musicians at an early or intermediate stage in their own career development, but it is also helpful for the TJF, which is still focused on its own long-term growth. A combination of sponsorship and operational funding from municipal, provincial, and federal levels of government allow the TJF to pay for its approximately 170 free shows; making these shows as accessible as possible to the general public. It also helps with fundraising and development, Grossman says, “making it easy for potential sponsors and donors to come down, get a feel for the place, and say ‘this is something we’d like to support’.’” The drastic reduction in the number of clubs included in TJF programming has not been without its detractors. In the wake of the 2017 festival, club owners to whom I spoke mentioned that being excluded from the festival’s promotional materials had resulted in a definite dip in attendance during the period, as compared to the previous years. In the research process for this article, I spoke to (and emailed) a number of musicians who had played at the TJF in the last two years – i.e. in the festival’s current format – and asked them about their experiences, both as performers and attendees. The responses were fairly consistent: while musicians like the idea of integrating a greater number of clubs into the festival, it doesn’t necessarily follow that having more clubs participating will automatically make the TJF experience better; there is something to be said for the communitybuilding power of geographical proximity, and the possibility that a festival may cease to feel like a festival if the majority of its offerings take place at discrete locations at various points throughout a city. When I asked Grossman about the club situation, he touched on the same points, as well as what for him was the primary issue: that Toronto Downtown Jazz wasn’t actually programming the clubs, had no overview over their operational standards, and had no control over attendee experience at events that were explicitly being advertised as TJF events. Moreover, the festival was doing this promotion for free, and, in some cases, club shows “would be up against events that the festival had “programmed directly,” creating odd conflicts of interest. Another major issue that Grossman touched on: musician pay. The TJF works to pay “at the very minimum, the Toronto Musician Association’s recommended rates.” Again, stressing that all clubs operate differently, Grossman pointed out that “when a musician would go in to play” a venue that had a “pass-the-hat” payment arrangement, it would get very tricky to say “this is an official festival show.” Josh Grossman This is not to say, of course, that there are no clubs involved in the TJF; there are a handful, including a number of venues adjacent to the Yorkville festival grounds, such as Sassafraz, the Gatsby bar at the Windsor Arms Hotel, and Proof Bar at the Intercontinental Hotel, the latter of which will host the nightly jam. As it did last year, the Home Smith Bar at The Old Mill will represent the TJF’s furthest-flung outpost, with four nights of vocal jazz performances hosted by Heather Bambrick. In the downtown core, The Rex will again function as a major festival hub, and will feature major artists such as David Binney, Donny McCaslin and Chris Potter. Grossman tells me that the TJF and The Rex have a “co-curatorial relationship;” throughout the booking process they go back and forth, working through any questions about which artists will work best in which setting. “What we end up with,” he says, “is a lineup on our stage that [The Rex] is cool with, and a lineup on The Rex stage that we’re cool with.” Issues concerning pay, marketing and promotion are all covered in “a very strict venue agreement,” resulting in all parties being comfortable and mutually invested in a positive outcome. And, as Grossman puts it, if it’s possible to develop similar relationships with other clubs that can provide complementary programming to the TJF’s other venues, it’s probably “the way forward.” Five years from now? Grossman returns to the move from NPS to Yorkville. “The goal with moving to Yorkville,” he says, “was to refresh the festival, change things up, a little bit, but also to create an environment in which people” – attendees, sponsors, artists – “can come and get excited about what we’re doing, see that we’re trying to build this thing, and get on board.” Fundamentally, he says, all of the Yorkville activity will remain more or less the same, because “that’s the vibe” they’re looking for. When asked about what’s missing, he let on that he’d been in preliminary talks with the University of Toronto about space to accommodate a large stage, a marquee venue at which 10,000 or so people could watch major artists perform. I asked if he maybe had a place like King’s College Circle in mind, but I was wrong. “Varsity Stadium,” he answered. “But,” he added wryly, “I think that’s very challenging, for any number of reasons.” And so, on its third anniversary in Yorkville, the TD Toronto Jazz Festival seems confident, self-assured, but also duly concerned with the necessity for future growth. Beyond the improved attendee experience, it is this potential for growth that seems most exciting about the festival, and which illustrates one of the less obvious outcomes of its exit from its old location in Nathan Phillips Square: by narrowing its scope and reinventing itself as a leaner, more focused festival, the TJF has given itself the space to better manage its own development. Through this process, it has quickly (re-)established itself as part of Toronto’s cultural landscape. As to the future, we’ll have to wait and see. This year’s TD Toronto Jazz Festival runs from June 21 to 30. For details visit torontojazz.com. Colin Story is a jazz guitarist, writer and teacher based in Toronto. He can be reached at www.colinstory.com, on Instagram and on Twitter. JULY 19 TH – AUGUST 10 TH , 2019 COME TO THE PARTY! PARRY SOUND, ONTARIO CLASSICAL & JAZZ CONCERTS • CRUISES • TALKS JAMES CAMPBELL, ARTISTIC DIRECTOR 60 EVENTS • 70 MUSICIANS • 20 ENSEMBLES Including Anagnoson & Kinton, Russell Braun, Canadian Guitar Quartet, Elmer Iseler Singers, Elora Festival Singers, Leslie Fagan & Guy Few, Janina Fialkowska, Gryphon Trio, Moshe Hammer, Drew Jurecka, Julie Nesrallah, New Zealand String Quartet, Penderecki String Quartet, Dave Young & Guido Basso and many, many more! CELTIC, BRASS & JAZZ ISLAND QUEEN CRUISES www.festivalofthesound.ca 1.866.364.0061 thewholenote.com June | July | August2019| 19
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!).
