CHO!\M SCENt by Larry Beckwith February brings two exceptionally distinguished visiting ensembles to Toronto. As well, several of the city's best choirs are in concert this nwnth with fascinating programs. At the beginning of the month, the TSO gives two performances (March 2 and 3) with guest ' conductor Helmuth Rilling, of Joseph Haydn's choral masterpiece "Creation", The lucky choirs chosen for these concerts are the Elmer Iseler Singers and the University of Toronto's MacMillan Singers. Rilling, a notoriously . fastidious choral conductor with a profound sense of style, is an infrequent visitor to our city. These promise to be memorable performances indeed. The programiners at the Living Arts Centre in Mississauga have a keen eye for nabbing significant touring artists. This is the case with a rare Toronto performance by the legendary all-male South African group Ladysmith Black Mambazo. Formed in the 1950s by Joseph Shabalala, the group's inspirational ensemble singing was brought to international prominence in Paul Simon's landmark "Graceland" album in the early 1980s. LBM was invited by Nelson Mandela to accompany him. to Oslo in 1993 for the presentation of the Nobel Peace Prize to Mandela and F.W. de Klerk, and an awardwinning documentary on LBM titled "On Tip Toe: Gentle Steps To Freedom" was recently · released. For a stirring and unforgettable evening, head out to the Living Arts Centre Feb 12. And still on the subject of visitors,Doreen Rao's outstanding University of Toronto Women's Chorus "celebrate in high voice" with the visiting Syracuse University Women's Chorus Feb 15. My admiration for conductor !vars Taurins and his Tafelmusik Chamber Choir often comes through in this column, and I don't apologize! Toronto concert-goers have come to expect a very high level of performance from this choir and they seldom disappoint. This month they begin a run of performances of the music of Mozart Feb 21 with guest conductor Sigiswald Kuijken. A member of the the Belgian Kuijken family, pioneers in the field of Baroque performance practice, Sigiswald is a brilliant violinist and conductor of the oft-recorded La Petite Bande baroque orchestra. The Toronto Mendelssohn Choir perform classical choral repertoire on the same weekenQ, with Noel Edison leading his charges in the C Minor Mass of Mozart and Haydn's Lord Nelson Mass. The soloist roster is led by soprano Meredith Hall and tenor John Tessier, and broadcaster Rick Phillips leads the pre-concert chat. Three concerts at the end of the month provide some of the most exciting choral music to hit Toronto this season. On Feb 26, the Amadeus Choir, under guest conductor Bramwell Tovey, perform Tovey's Requiem, Henry Kucharzyk's "Corral" and a piete titled "Jubilate" by the hot English composer/conductor/former King's Singer/honorary Canadian Bob Chilcott. Also on Feb 26, Soundstreams presents the first of two concerts featuring the worldrenowned Estonian Chamber Choir under Tonu Kaljuste's direction. The main work on the program is Rachmaninoffs All Night Vespers, but an intriguing Alto Lead Deer Park United Church Avenue Road & St. Clair Avenue W. Sight-reading skills required Interesting repertoire Good remuneration Contact: William Wright 416-923-2764 part of the evening is a performance of Estonian composer Veljo Torrnis' "Litany to Thunder" . I read a colourful review of this piece by an online music critic, Raymond Tuttle, who says "Litany to Thunder ... for tenor, bass, male choir, and bass drum , (is) essentially a shamanistic rain-dance, and the effect of the pleading, shouting, keening choir and the massive drum is so · powerful that I would want to bring a raincoat to even an indoor performance." , The following evening, the Estonian Choir "encounters" the Elmer Iseler Singers in a ·marvelous program that includes , the Swiss composer Frank Martin's "Mass for Double Choir" and a new piece by one of Canada's leading composers James Rolfe, entitled "O that you would kiss me" . (The program also features Arva Part's music, and I have to admit that I always come out of Part performances with three words on my mind: "life's too short". Maybe this is the performance that will open my eyes.) John Ford The Canadian choral community lost a real friend on New Year's Day with the passing of John Ford. Ford was a lifelong Torontonian, from his graduation from Scarborough Collegiate in 1952, through a career devoted to instilling in young musicians a love and discipline for choral singing. He led a busy life as a school teacher for over 20 years at Riverdale Collegiate. He was a choral conductor, instrumental in shaping The Oriana Singers, a women's choir founded in 1977. As So You Want To Do Something You Did In High School, Huh? •:• •!• •!• Muscles sore? Wind gone Can't play ball anymore? Remember singing? Call John Kirk at 905-707-7099 For more information on this new· found hobby John Ford well he was a church organist, active at Eglinton United Church from 1981-1999. Ford also served on several choral and music ep~cation boards both locally and nationally. It is as an adjlldicator and clinician that Ford will be most widely remembered, however. His encouraging words inspired generations of young people in Kiwanis and other music festivals across the country. Ford felt deeply that music should be an integral part of children's lives, whether or not they pursued it as a vocation, and he possessed the three most important qualities in a great teacher: love for his subject, uncompromising standards and a terrific sense of humour. He served his community and his art well and he'll be missed. As always, I can be reached at dunnbeckwith@sympatico.ca d The Canadian Singers are looking for a · BASS This dynamic group of eight vocalists performs a fascinating repertoire of Canadian music, ranging from Lightfoot to Willan. · We're looking for a singer who reads, looks good, has stage presence, and would commit to an exciting future with a closely knit group that proudly waves the flag for Canadian music. If this sounds like you, check out our website at www.the canadiansingers.com and/or call Music Director Harvey Patterson at 416-239-5821. 14 www.thewholenote.com February 1 -- March 7 2002
~~ (New Music) by Paul Steenhuisen VITAL SIGNS Amidst the number crunching and national debates over the future and relevance of today's symphony orchestra, new music aficionados will appreciate that the coming month is one of the most interesting in recent memory, containing 6 different orchestral programs. The first of these (Esprit Orchestra Wed Feb 6, 8pm with 7: 15 pre-concert talk at the Jane Mallett Theatre), begins with the concert premiere of Toothpaste, a five-minute comedic opera with · music by Alexina Louie (see www.ToothpasteTV.com). A highlight of the evening will be a . special tribute to Mary Morrison and Harry Freedman. Morrison's unparalleled work in Canadian vocal music and Freedman's long association with Esprit, and his deep friendship with Harry Somers will be reflected in the performance of his "Graphic 9". Also featured is John Rea's Alma & Oskar, a recent orchestration (for soprano, baritone and orchestra) of his 1994 sopran.oand-piano work of the same name. Set on the eve of World War I, this melodrama (from beyond the grave) is a musical account of the love story between Alma Schil1dler-Mahler and the visual artist and early Expressionist ' Oskar Kokoschka, as told in the biography (1988} of Alma written by Fram;:oise Giraud. This fine , work shows the consistent layering of meaningful musical, literary and artistic references that inform Rea's music. It deals with memory and misunderstanding between the two characlers, and makes reference to the fruit of their love, the great painting entitled Windsbraut (the Bride of the Wind). . Consistently excellent soprano Barbara Hannigan will be featured throughout the concert: including her role in the film version of Toothpaste. Feb 13, the TSO will play its first of three concerts this month containing new work. In addition to Leopold Mozart's 1_767 concerto for alto trombone (the first concerto written for trombone and orchestra), world-renowned trombone virtuoso Christian Lindberg will perform Italian master Luciano Berio's 22-minute piece titled SOLO. Berio and Lindberg first discussed the prospect of a piece for trombone and orchestra as early as 1985, the initial idea being an orchestration of his famous Sequenza V. However, when it came time to begin work, Berio felt the heed to write a longer, more substantial piece. Composer and performer worked closely together in Salzburg through the summer of 1999, where Berio had also written the acting role of "Abulafia" in his opera "Chronaca de! Luogo" specifically for . Christian Lindberg. Berio has recomposed and revised the piece 8 times, completing this definitive version in September 2000. Feb 23, at 1:30 & 3:30 (note weekend start time), is when the TSO will perform Barbara Croall 's "Caribou Song," based on a story by Tomson Highway, at an all-ages concert. The composer was attracted by descriptions of the northern tundra landscape, as well as the characters, especially the caribou, a central and spiritually significant figure in Highway's work. Croall worked together with Anishnaabe actor and writer Sandra Laronde, bringing the story · to life with music and choreographed 1nove1~ent and dance. "Caribou Song" is about one northern Cree family's relationship to the caribou within the habitat and way of life that they share. It reflects Tomson Highway's childhood and what he remembers as a magical time of joy, love and deep spiritual connection to his Cree roots. Croall writes: "Tomson's story ... embodies the specifically indigenous value that there is no hierarchy between. humans and animals, or other parts of nature which people might like to think they have 'explored' or 'conquered'. Indeed, we are humbled by the natural world around us, of which we are a part, dependent upon, and without which we won't survive. It is my hope that with the presentation of this work, this value may be understood and shared." Also from the TSO (Feb 27, 8pm) will be the Canadian premiere of HK Gruber's "Aerial" (Concerto for Trumpet&. Orchestra). tONTINUED, PAGE 1 7 February 1 -- M arch 7 2002 www.thewholenote.com
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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!
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!).