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Volume 6 Issue 5 - February 2001

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CONTENTS VOLUME 6 #5

CONTENTS VOLUME 6 #5 •!• FEBRUARY 1 TO MARCH 7 2000 I Toronto's only comprehensive monthly classical and contemporary concert listing source Volume 6 #5 February 1 to March 7, 2001 Copyright© 2001 PerPul Proze 60 Bellevue Avenue, Toronto, ON MST 2N4 Publisher: Allan Pulker Editor: David Perlman Listings: Simone Desilets, Karen Ages, Elizabeth Lutz Layout: David Perlman; Verity Graphics Cover by Rocket Design Photography: Daniel Alexander, Den Ciul, Gary Rush, Michael Shaw Contributing Writers Choral: Larry Beckwith; Bandstand: Merlin; Jazz: Jim Galloway; Early Music: Frank Nakashima; Music Theatre: Sarah B. Hood; Features: Allan Pulker, Dawn Lyons; Philip Ehrensaft, David Perlman. How TO REACH Us Advertising and Memberships · Allan Pulker, Karen Ages Ph: 416-323-2232 Fax: 416-926-7539 Listings, Unclassified Ads Simone Desilets Ph: 416-323-2232 Fax: 416-926-7539 Editorial David Perlman Ph: 416-603-3786 Fax: 416-603-3787 Email: info@thewholenote.com Deadlines Next issue is Volume 6 #6, March 2001 Covering events from March 1 to April 7, 2001 Publication: Wednesday, February 28, 2001 Free Listings: 6 pm Thursday, Feb. 15 Advertising Reservations Colour: 6 pm Friday, Feb. 16 B/W: 6 pm Monday, Feb. 19 Subscriptions: Faiza Ansari Phone: 416-469-211 7 /Year + GST Printing by New Concept Circulation: 25,000 he WholeNote is a km DRUM Publication. CANADIAN PUBLICATIONS MAIL PRODUCT SALES AGREEMENT 1263846 www.thewholenote.com 6 wholenote FEBRUARY 1, 2001 - MARCH 7, 2001 Concert Notes Overview by Allan Pulker 8 Early Music by Frank Nakashima 9 Choral Scene by Larry Beckwith 10 New Music by David Perlman 11 Jazz Notes by Jim Galloway 12 Band Stand by Merlin Williams 13 Music Theatre: Last Chances by Sarah B. Hood 15, 17 Comprehensive Concert Listings Music Theatre Listings 16, 17 D~ily Listings (GTA) 18-30 Further Afield 31-32 Honourable Mention 32 Too Late to List 32 Index of Presenters and Venues 33 INDEX OF ADVERTISERS, FEBRUARY 2001 Features Covrn STORY Dang Thai Son, pianist by David Perlman Our Members Write 14 Taking Care of Business by Philip Ehrensaft 7 Etcetera File 34 (Un)Classified Ads 34 35 Correction Please note that the Elmer lseier Singers concert "Mystical Voices" takes place on Friday, February 2, 8:00 pm. It was erroneously listed under a different date in our last issue. WholeNote regrets the error. ACROBAT Music 9 DEER PARK CONCERTS 29 MOOREDALE CONCERTS 23 SINFONIA TORONTO 3, 18, 29 ALDEBURGH CONNECTION 24 EXULTATE CHAMBER CHAMBER 25 Music WORKS 12 SONG CIRCLE 21 ALL THE KING'S VOICES 26 FACULTY OF Music, U. OFT. Music TORONTO 19, 22, 24, 28 SouND Posr 9 AMICI 28 5,20 Music CHAMBER 12 SOUNOSTREAMS CANADA 21 ANNO DOMINI FESTIVAL CINEMAS 2 Music AT METROPOLITAN 27 ST. JACOB'S SCHOOLHOUSE CHAMBER SINGERS 11 FRET WORKS 31 Music AT Sr. JoHN's 19 THEATRE 16 ARIA INTERNATIONAL 5 GARY ARMSTRONG WooDWINOS 10 NAXOS 8 ST. JAMES' CATHEDRAL 26 ARRAYMUSIC 25 GEORGE HEINL 13 NEW GUITAR 20 Sr. ANDRElv's CHURCH 33 ASSOCIATES OF THE HANNAFORD STREET NEW Music CONCERTS 3 T AFELMUSIK 31 TORONTO SYMPHONY 21 SILVER BAND 24 NEW OPERA & TONEART ENSEMBLE 26 Aumo GROUP 13 HARMONET 12 CONCERTS CENTRE 14 TORONTO MENDELSSOHN CHOIR 2°6 BAROQUE PLAYERS INNERMUSICA 30, 40 NORTH TORONTO TORONTO OPERA REPERTOIRE 15 OF HAMIL TON 20 INTERNATIONAL RESOURCE CENTRE INSTITUTE OF Music 34 TORONTO CHILDREN'S CHORUS 27 BELL' ARTE.SINGERS 29 35 NORTH TORONTO PLAYERS 15 TRILLIUM BRASS 28 CANADIAN Music CENTRE 39 JAMES SUGG 14 OFF CENTRE 23 TRINITY-ST. PAUL'S CHURCH 23 CANADIAN SINGERS 25 KING STREET ORPHEUS CHOIR 31 TRYPTYCH 17 CBC ONSTAGE 25 ARTIST MANAGEMENT 9 PEROS Music INC. 2 VALLILLEE DIGITAL IMAGING 9 CENTURIES OPERA 14, 17 LAWRENCE PARK · REMENYI 4 V1cTORfA SCHOLARS 30 CHORAL STORE 10 COMMUNITY CHURCH 32 ROTHKO TRIO 22 VOCAL ART FORUM 35 CJRTFM 13 LEASIDE CONCERT SERIES 21 RoY THOMSON HAu 24 VoCALPOINT CHAMBER CHOIR 23 CLASSICAL 96 FM 37 LENA AUCLAIR 35 Rom CONSERVATORY OF Music VOICE AND PIANO LESSONS 35 CLAVIERS BAROQUES 10 LINDA MAGUIRE 14 22 WAV DESIGN GROUP 12 CoMMENSAL, LE 37 LoNG & McOuAOE 11 SCARBOROUGH PHILHARMONIC 20 WoMEN's Mus1CAL CLUB 19 DAVID TAMBLYN 10 · MIKROKOSMOS 34 SHAR Music 37 DEEP DowN PRODUCTIONS 13 MONTGOMERY SOUND 13 SHEVCHENKO ENSEMBLE 27

BY PHILIP EHRENSAFT Starting with this issue, WholeNote embarks on a twelve month examination of' the interface between the new economy and musical life in Toronto, from the perspectives of performers, audiences and other "players" in the musical scene. My own regular contributions to the discussion arise from a larger study comparing economic restructuring in Toronto and Chicago. Combining business and a passion for music, I am looking at art music in the two cities, trying to understand the new economic and social organization of art music, with an emphasis on contemporary classical music, jazz and opera. · Performing arts · organizations across North America have long adopted the risky strategy of commissioning study after study documenting the impact of the arts on national and regional economies. J n a culture ever more dominated by the bottom line, the intention is to convince the powers-that-be of the utilitarian reasons for supporting the arts. Following this strategy, economists measure the "direct" and "indirect" impacts of the music sector on income and employment. Direct impacts include elements such as the number of musicians, composers, scmnd engineers, instrument manufacturers and the ilk. Indirect impacts encompass items such as the wood and metal used to manufacture instrumenq;, plus the extra groceries or shoes purchased by people working in the music industry when sales increase. Combined, these direct and indirect impacts added together yield the "multiplier · effect" : each additional dollar' spent on music generates x more dollars or jobs in the economy as a whole. So goes the argument. But this utilitarian strategy is a double-edged sword. The rub is that there are dozens of other sectors (sport fishing for example) that could have higher multipliers than the performing arts. So why, then, should the bean-counters in government or foundations channel much support towards the arts? Taking Care of Business? Making sense of the musical economy Unless the powers-that- Ottawa's support for all the arts be and the general public are put together. Most of this convinced that art music has great money, however, is channeled to intrinsic value, we will likely the landmark Chicago Symphony remain a poor cousin in the · Orchestra and Lyric Opera competition for public resources. respectively. The flip side is that Even in a perfectly egalitarian all other Chicago ensembles are and cooperative society, the costs · in a constant struggle to survive. and benefits of devoting re- A look at the recording sources to music as opposed to industry is sobering: In the eyes dozens of other worthy activities of the four multinationals would have to be debated. Our controlling the bulk of the world society, however, is increasingly market for recorded music, art unbalanced as the· bottom line music is a residual category. blots out all other considerations Classical music and jazz each of what makes 'life worthwhile. account for 3 to 4 percent ot' If the performing arts buy into annual North American recording this unbalanced worldview, we sales. Looking at Billboard or are on a losing wicket. BBC sales charts. for art mus.ic We should be equally makes it painfully clear that a big careful about arguments relying chunk of this minor market is on purportedly utilitarian musical occupied by "Lowest Common impacts such as the Mozart Denominator" artists and effect. Sooner or later, new reissues. A small circle of star psychological research is likely to performers, conductors and raise doubts as to whether music ensembles dominates the more makes us smarter: the Mozart serious chunk of the art music effect may be short-lived, less market. This doe·sn't do much to influential outside of controlled enhance the lives of the majority experimental contexts, etc. And of performers and composers then, as quickly as it spiked, the who are trying to survive and fad will !!nd - the governor of thrive. 1 Georgia will no longer send a (An optimistic take on classical music CD to the parents this situation, I suppose, is that of every newborn child. even one percent of the total · demand for recordings and A dominant trend in the performances involves a substantial niche of money and employment. ·If the North American and European niche markets for art music have been flat over the past decade; growth in Asian and new economy is increasing inequality of incomes and increasing concentration of economic power in the hands of fewer but bigger enterprises. Robert Frank and Philip Cook chart the rise of a "winner-takeall" labour market: a handful of top performers capture· stellar incomes which are an increasing multiple of average incomes in a given sector. Increasing inequality persists across a broad range of activities: corporate management, law, consulting, medicine, law, journalism, academia are but , a few. Art music is not exempt from this trend. Norman Lebrecht's very important book, When the Music Stops, has eloquently demonstrated the negative impacts of this new winner-take-all economy for the large majority of people involved !'\ in classical music. To cite an example from my own research, Chicago generates budgets for classii:al music that surpass Lati'n American markets are substantially increasing total world demand for classical music and jazz. The Internet is facilitating the creation of considerably larger world markets for specialized s4bgenres of art music.) Globalization paradoxically increases the importance of local institutions and culture in terms of who thrives and who does not in the new economy. How dynamic, for example, are Toronto's art music organizations and informal networks compared to those of Chicago, San Francisco, Cleveland or Seattle? Why do we observe wide variations in the commitments of regional elites with respect to the performing arts? How is it that Cleveland, with a population half the size of that in Ontario's Golden Horseshoe, supports what is arguably the. finest symphony on the continent while the TSO struggles just to exist? Conversely, how is it that Toronto can spend only a fraction of the money Chicago devotes to classical music but support a greater range qf small, high quality ensembles? These are· some of the issues I hope to explore. I hope my column will encourage other people to offer their own perspectives on the new economy of music, both in the printed version of the magazine and the newly expanded WholeNote web site. WholeNote's Editorial Calendar for 2001 February: The economics of the music business. March: Summer music camps and schools. April: The musical instrument business. May: The 2001 ·2002 season in the making. June: The summer music season overview. July: The summer music season: a detailed guide. September: Music and education. October: The 2001 ·2002 concert seaspn. \ November: ' Composers in our midst. December: Choral Music. FEBRUARY 1, 2001 - MARCH 7, 2001 wholenote 7

Volume 26 (2020- )

Volume 26 Issue 1 - September 2020
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