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Volume 10 Issue 1 - September 2004

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Eine kleine Nachtmusik

Eine kleine Nachtmusik Mozart Serenade for Strings Tchaikowsky Harp Concerto in B flat Handel Danses Sacree et Profane Debussy Psalm and Fugue Hovhaness George Weston Recital Hall Toronto Centre for the Arts November 25, 2004 8:00 p.m. For Tickets: Call the Toronto Centre for the Arts Box Office (416) 733-9388 to benefit AboutFace \ \ \ ,1houtfan:int.:rnat1un.tl.org Geo, & Co. Llmited CONSERVATORS & PURVEYORS OF Fine & Rare Violins 201 Church St., Toronto, ON. M5B IY7 Tel: 416-363-0093 •Fax: 416-363-0053 Email: ghcl@idirect.com www.georgeheinl.com Canada's foremost violin experts. Proud of our heritage. Excited about the future. EARLY MUSIC by Frank Nakashima Unlike the choral scene, where it takes presenters n while to get going, early music presenters are off to a fast start. OFFERING AN aurally aromatic (but low-fat, no cholesterol) blend of trio and quartet sonatas by Telemann, Vivaldi and Fasch, is the gang from Baroque Music Beside the Grange - Alison Melville (recorder & traverso), Linda Melsted (violin), Dominic Teresi (bassoon) and Borys Medicky (harpsichord) - in a prograrmne fashioned after the coffee house concerts of the l 8th century (September 12) A FEW DAYS IA TER, the dazzling Dutch recorder virtuoso Marion Verbruggen joins the Tafelmusik Baroque Orchestra - more Telemann and Vivaldi, but on a larger scale, so to speak - in a program titled "The Enchanting Recorder: Baroque Delights" (September 16- 19) A longtime friend of Tafelmusik, Ms. Verbruggen has inspired several recorder players of this generation. WHEN JoHN Dow1AND published his First Book of Songs in 1597, not only was it his first book, but probably the first book of solo song ever published in England. When the Musicians in Ordinary (soprano Hallie Fishel and lutenist John Edwards) present a concert featuring the songs from this marvellous publication (September 25), it will be to acknowledge the historical significance of this collection which contains some of the best known songs in the English language to this day. Its contents have been praised and "poached" in more recent times by such musical dignitaries as Benjamin Britten and Peter Warlock. Visit www .musiciansinordinary .ea Nar A MOMENT'S REST for Tafehnusik as they present yet another program this month (Sept 28-30, Oct 1,2,3) "A/ Musical Offering: Bach and More" featuring can0ns from Bach's celebrated Musical Offering, and exploring the genius behind these compositions. The program also includes a colourful Rameau suite. Their recently released recording of Rameau Suites has garnered international acclaim and you won't want to miss the chance to hear this elegant and spirited music live. See the website: www.tafelmusik.org THERE WILL ALSO BE A RARE and special opportunity to hear the distinguished soprano Meredith Hall in recital with Quebec lutenist Sylvain Bergeron and harpist Robin Grenon (October 3). Her program will feature a selection of French and Italian repertoire, some of the greatest solo vocal music of Henry Purcell and · Claudio Monteverdi, and cherished Scottish melodies from the pen of the bard himself, Robbie Bums. This concert is being recorded for broadcast on CBC Radio Two, so come and contribute your applause to the soundtrack! This is music sure to inspire and touch you, perforrred by three of Canada's finest interpreters of early music! Finally, I realize that this notice is far in advance of what my column usually encompasses, but here's an early "heads up" for Montreal-based ensemble, Les Voix Baroques (making their Toronto debut in the On­ Stage series at the Glenn Gould Studio (October 12). More about them next month! Frank T. Nakashima (franknak@interlog.com) is the President of the Toronto Early Music Centre, a non-profit charitable organization which promotes the appreciation of historically-informed performances of early music www.torontoearlymusic.org . DANCE & DANCE-ABILlTY A 19th Century English Country Dance Workshop Historic Fort York 100 Garrison Road. Free Parking 416-392-6907 Ext 100 Friday, Sept. 24, 7:30 p.m. It is fun and easy to learn the dances from the War of 1812 era in the authentic setting of Historic Fort York. • No partners required -..·.-{· •.Beginners Welcome --· .... . :_., . • Pre-registration required • $10 per person Includes light historic refreshments llJ!f!TORDN10 Culture www.toronto.ca/culture 22 WWW. THEWHOLENOTE.COM SEPTEMBER 1 - OCTOBER 7 2004

Learning .With Your.Feet "At rhe height of the baroque period, everybody who was anybody danced well. fr was simply part of a decent educmion, along with music ... in those days .... " (Daniel Gariepy, ltl Belle Danse) BY MASl·IA BUELL 1'rrEY CAME INfO the classroom dressed for the festive summer barbeque which was to follow the workshop, but helpfully began setting chairs into a couple of neat rows. The wiry energetic man setting music cues on a cd player, turned and said "you should probably stack those at the back - we're going to need all this space to move in .... " There was a flutter of puzzlement. "We will be on our feet dancing," he explained benignly. "So arrange yourselves in three rows so that you can see me; we'! be looking at two fonnal court dances - one in duple time, one in triple time - the bourree and the minuet." A ripple of recognition at the terms relieved some of the uncertainty evident in this group of music educators, mostly women with little or no dance training, attending a three day summer event at the RCM called Art of Teaching 2004: Active Learning. This elective workshop was called "The Arte of Dancing". "In baroque dance, each component of the dance is tied to the music." Daniel explains. "Listen, and you will know when to move." To give them credit, they all gave it their best shot. Only one eventually sat down - her legs could not handle the non-stop stepping, hopping rising and bending that the rest survived. What kept them going was the baroque music itself - a musical language which required no explanation for most. Their appreciation of the music made up for their lack of dance expertise. Handel, Purcell, Lully and Rameau combined with Daniel Gariepy's lively commentary, which ran like a thread through the instructions, kept things sweeping along graciously. "Obviously there are dance suites which were written as concert music, but all of those fom1S - Allemande, Courante, Sarabande, Gigue, Gavotte, Minuet these are all dances .... A musician who has actually danced a minuet has an infonned sense of what the music asl

Volume 26 (2020- )

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