8 years ago

Volume 6 Issue 6 - March 2001

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CONTENTS VOLUME 6 #6 ·:· MARCH 1 TO APRIL 7 2001 Toronto's only comprehensive monthly classical and contemporary concert listing source Volume 6 #6 March 1 to April.7, 2DQ1 Copyright (c) 2001 PerPul Proze, 60 Bellevue Avenue, Toronto, ON MST 2N4 Publisher: Allan Pulker Editor: David Perlman · • . I Production Manager: Peter Hobbs listings: Simone Desilets, Karen Ages, Elizabeth Lutz · Layout & Design: David Perlman, Michael Busija, Verity Hobbs Summer suppl~ment: layout and design: Verity Graphics Cover by Rocket Design Photography: Den Ciul, Rob Di Vito, Michael Shaw Advertising: Allan Pulker, Karen Ages . Acting Distribution Manager: Ken Larone Contributing Writers: · Bandstand: Merlin Williams; Choral: Larry Beckwith; Early Music: Frank Nakashima; Hear & Now: Paul Steenhuisen, David Olds; Jazz: Jim Galloway; Music Theatre: Sarah B. Hood; Features: Phil Ehrensaft, Dawn Lyons, David Perlman, Allan Pulker. How to Reach Us · Advertising and Membership i llan Pu Iker, Karen Ages ph 416-323-2232 ~ fax 416-926-7539 I Listings, Unclassified Ads Simone Desilets ph 416-323-2232, fax 416-926-7539 Editorial David 416-603~3786 fax 416- 603-3787 Subscriptions: Faiza Ansari Phone: 416-469-2117 /year + GST Email: DEADLINES Next issue is. Volume 6 #7, April 2001 (covering events April 1 to May 7) Publication: Tuesday, March 27 Free listings: 6pm Thursday, March 15 Advertising reservations:· Colour: 6pm Friday, March 16 B/W: 6pni Monday, March 19 Printing by New. Concept . Circulation: 25,000 , The WholeNote is a km DRUM Publication. CANADIAN PUBLICATIONS MAIL PRODUCT SALES AGREEMENT 1263846 . ISSN 1488-8777 WHOLENOTE (PRINT) ISSN 14888-8785 WHOLENOTE J 6 wholenote MARCH 1, 2001 • A PRIL 7, 2001 Concert Notes Overview by Allan Pulker 8 · Early. Music by Frank Nakashima 12 Choral Scene by Larry Beckwith 14 Hear and Now by Paul Steer;ihuisen 1 6 Jazz Notes by Jim Galloway 1) Band Stand by Merlin 18 Mem 1 bers Write 1 9 Spotlight on Music Theatre by Sarah B. Hood 22 · Features Musical Economy, Part II by Philip Ehrensaft 7 Musicians in Our Midst: Sterling Beckwith by Allan Plilker 20 Behind the Scenes: Chris Walrath by Dawn Lyons 41 Cover Story: Baroque Music Beside the Grange by David Perlman 44 INDEX OF ADVERTISERS, MARCH 2001 Special Feature: Summer+ Time WholeNote's look at summer music education s1 to s8 (following page 24) LISTING'S Music Theatre 23 Quick Picks 24 Concert Listings .25-38 A. GTA 25 B. Further Afield 36 C. Honourable Mention 37 D. Too Late to List 38 Index of Presenters and Venues 38 Etcetera File: Workshops, announcements, etc. 39 (Un)classified advertising 40 Readers write 46 Academy Concert Series 27, 35 Faculty of Music · U of T 5, 23, 30 Music at Port Milford 24 Sinfonia l oronto 4, 26, 36 Acrobat Music 9 Festival Cinemas 21 Music at St. John's 36 Sony Canada 3 Aria International Summer Gary Armstrong Woodwinds 10 Music Chamber 12 Sound Post 9 Academy 22 George Heinl 15 Music Toronto 27, 28, 30. 45 • Soundstrea(lls Canada 4 Arts Newmarket 34 Hannaford Street Silver Band 28 New Guitar 35 St James' Cathederal 12 Associates of the Toronto · Harmonet 12 · New Music Concerts 5 Sumnier Opera Lyric Symphony 34 Heliconian Club 34 North Toronto Institute of Theatre 24 Audio Group 15 I Furiosi Baroque Ensemble 36 Music 40 Tafelmusik 26 Calyx 36 lnnermusica 26 Opera in Concert 34 Tafelmusik 33/ CAMMAC 25 International Resource Centre 15 Orpheus Choir 27 Thornhill Chamber Music Canadian Music Centre 47 Jazz FM91 19 Parkdale Hunt 34 Institute 26 · Carlson·Wagonlit Travel 11, 23 . Jubilate Singers 31 Paul Hodge Audio 14 Toronto Cantata Chorus 29 CBC On Stage 28, 32, 37 Kim Kendrick 26 Pax Christie Chorale 37 Toronto Consort 35 · Centuries Opera 2p, 24 King Street Artists Manageme~t 9 Phoenix Records 31, 45 Toronto Symphony Choirs Ontario 25 Lena Auclair 41 Polish Canadian Society of Orchestra 2 ' Choral Store 17 Linda Maguire 20 · Music 31 Tryptych 25 Christ Church Deer Park 39 Long & McQuade Musical Inst. 11 Renaissance Singets 33 Vallillee Digital Imaging Classical 96 FM 3 Merriam Music Concert Series/Warren .. Roy Thomson Hall 32, 56 Solutions 16 · Claviers Baroques 10 Nicholson 30 Royal Conse.rvatory of Music . Virtuosi di Toronto 12 Commensal, Le 43 MidSummer Music 26 13, 22, 23 Vocal Art Forum 21 Concerts at St. George's 32 Mikrokosmos 19 Royal Ontario Museum 39 Voice & Piano Lessons 41 David Tamblyn 16 Mississauga Children's Choir 17 Russian Music in Toronto?, Voices 33 Deep Down Productions 15 Mississauga Choral Society 36 Of course! 13 Woman's Musical Club of Elora Festival Singers 17. Montgomery Sound 15 Shar Music 43 Toronto 27 Etobicoke Community Concert Band · Mooredale Concerts: A Song of Lilith Sine Nomine 27 30 28. 29 Sine Nomine 33

Taking Care of Business? Part II Nothing. But The Facts Ma'·am: The Joe Friday Approach to Understanding the Musical Economy by Phil Ehre~saft If Joe Friday were alive and suggests that the majority of these 'musicians with a new degree in inclined to analyse the state of the . arts, he would be immensely hand can eventually expect to earn a reasonable income. pleased by Statistics Canada's new publication, Canadian Part of the original source Culture in Perspective. (For material cited by Culture in those readers not even born Perspective, is something called when Dragnet was bringing JolJ Futures 2000, an ambitious police procedural fiction to the information package .that can be small screen, Friday was the access~d at Human Resources cool-headed cop wont to stop Development Canada's web site. witnesses' interpretive flights · {The address is: www .hrdcw.ith an acerbic "nothing but the· From facts, ma'am.") Job Futures 2000, we can see The arts community should what happens to university be equally pleased with Cana- graduates with music degrees dian Culture in Perspective · · when they enter (or try to enter) (CCIP) which synthesizes all the the labour market. · relevant national studies of At first glance the data culture in Canada. Published on appears to fit the "starving artist" December 22, it is .a fine stereotype. Only 10 percent of Christmas present tb the culturaj the musician's who graduated in sector. Now I think it is impor" 1995 reported finding work tant that we respond by giving· directiy matching Jheir training StatsCan's Culture Statistics the by 1997 ( half of all kind of feedback on the new 1995 graduates who found work. teport (and on their magazine, matching their training}.' Fur- Culture in Focus) that will both ther; six out of ten music improve the usefulness of their graduates felt overqualified for work and demorisfrate to the their jobs, Versus three out of ten powers on high that. the arts for all graduates .• And only six community wants this work' to be out of ten inusiciarts felt satisfied supported. with their current work, com- This month's cohimn gets , pared to 90 p'ercent for all 1995 the ball rolling, by looking at . the BAs. implications of what CCIP can · Yet not Jess than 85 percent tell us about the_ Jabour force in of these young musicians said the musie sector. they would ma)ce the sarrie SURPRISES BETWEEN THE LINES My first reading of the evidence in CfCIP was surprising. It suggested that the received wisdom about the lamentably low incomes earned by highly trained musicians (a notion I shared) is probab.Iy off the mark. In a nutshell, the evidence suggests that over time the new generation of university-educated musicians attains income levels only moderately less than the average for all Canadian university graduates. I think it iueasonable to assume that a higher proportion of young classical musicians have university degrees than the majority of musicians who pursue other genres. If so, the report educational choice again, which is rnuch higher than the average 71 percent positiverespoJJse for all disciplines. (This· compares, for example, with young sociologists who have similarly low chances of finding initial jobs that matched their training: only half the sociology grads said they would choose sociology again.) The music grads said they would choose the same degree again, even though they earned 38 percent Jess in 1997 than the · average for all 1995 graduates, and despite the fact that only three music graduates out of ten were working full-time, compared to three-quarters of all graduates. So how does this sentiment, admirable though it may be in the face of adversity, support the argument that things are lool

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