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Volume 11 Issue 10 - July 2006

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WholeNote's TWELFTH

WholeNote's TWELFTH SEASON Editorial Calendar As our 12th season approaches we'd like to remind everyone that we value and welcome your ideas and contributions, so here's a look at what lies ahead. September Orchestras and concert bands in our communities. We will look at them all: when they rehearse, when they play, who can join. A resource for musicians of all levels, for potential subscribers, and audiences everywhere. October WholeNote's Blue Pages. WholeNote celebrates the 2006-7 season with its annual "Blue Pages" - profiles and directory listings for the presenters, ensembles and venues that make the music scene tick. November New Music. Whole Note takes the pulse of art music as a living, evolving form. December/January two-month issue Gift of music CDs, DVDs, books, musical instruments and accessories for everyone from the aficionado to the student to the active professional. February Period Music. It may be old but it is forever new, engaging, alive and well in our communities. "Summer and Beyond, Part 1" looks at opportunities for enrichment, from summer camps to post-secondary programs. "A Healthy Instrument" investigates keeping both the instrument and the body that plays it well-tuned. March "Summer and Beyond, Part 2" continues the theme of planning for memorable summer learning. Camps, workshops, institutes: what better cure for the winter blues than looking at the abundant opportunities for musical growth next summer? April Focus on Opera: celebrating the season on stage and behind the scenes, WholeNote seeks out the opera community's multi-talented movers and shakers for a taste of their exotic (and nuts-and-bolts) world. Also "Unsung Heroes" - those who provide or raise funds, book halls, design everything from posters to gowns and promote the live music scene. May Choral Celebration: an astonishing overview of our choirs and their acomplishments. WholeNote profiles the community that touches thousands as participants and audiences. June The Second Season 1: an Overview. City, town and country are alive all summer with the sounds of music. WholeNote will tell you where and when to find it. July/August two-month issue The Second Season 2: details of summer's "second season". (See this issue's coverage for details). All editorial inquiries should be directed to editorial@thewholenote.com or to 416 603 3786. u ::) 0 UJ _J UJ °" 0 z

part. ... I mean, I have a system but it's so ingrained in me I don't think about it, just like a language.' One of the most common charges against Carter's music has been that it's too intellectual and emotionally reserved. 'To me it's just the opposite of that. Last night Bob Aitken said that my criticisms at rehearsals are always about not having the right spirit, or enough feeling . I never criticize the way all those complicated rhythms are performed. I just assume performers are playing the best they can - so now we make something out of it. I'm always glad when both the rhythm and the spirit come out in the end. It justifies all the effort that I make about that sort of thing. ' Critics also point out that ultimately all those intricate details can't be heard. 'The tiny details are only one small contribution to a piece. I think this story is probably true: Richard Strauss once stopped a rehearsal and said, "Gentlemen, you seem to be playing all the notes". He had a vision of how the music should feel and what the character should be.' My music gives the impression of improvisation, I think, a good deal of the time. This is partly derived from my early interest in jazz.' But Carter avoids aleatoric techniques, which allow performers to improvise certain passages. Tm trying to make a message, and the more improvisatory it is the more it becomes the performer's message, not the composer's. Each improviser has his own idea how to make a good effect. It's usually something he already knows. As a result the improvisation is in some ways more limited than if I were writing it. He can't go back and correct it the way I can.' The first New Music Concerts program, presented at the Music Gallery, included a work Carter wrote for Aitken, a renowned flutist. 'Robert kept asking me to write a flute piece. I am very fond of the flute, especially in the low register. I had been reading the love poems of 14th century Italian poet Petrarch, who lived for a while near Avignon. One says , "Whenever I think of you I write on wind and stand on sand" . I thought "writing on wind" was a good idea for a flute piece, so I called it Scrivo in Vento . Bob played the first performance for a festival of my music in Avignon. When we arrived for the concert in Petrarch' s own house in an extraordinary place called Fontaine-de-Vaucluse we discovered that it was actually Petrarch's birthday, July 20 - hundreds of years later.' That program of short chamber works also featured Blackwell performing a solo bass clarinet work Carter wrote for him, Steep Steps. 'That's probably what he is practising right now,' said Carter, referring to the bass clarinet sounds coming through from the adjoining room. In fact Carter has written a number of short solo works for close friends, like Lutoslawski and Stravinsky. 'Stravinsky wrote several articles about my music - he appreciated it very much. I dedicated my Piano Concerto to him . He took my wife and me out to dinner many times , so one evening I finally took the grand man out. We had a big table right in the middle of the restaurant. He usually insisted we speak French together so that the waiters wouldn't understand. A man came up to me and said in rather bad French, but in French all the same, "Will you ask the maestro to give me an autograph?" So I asked Stravinsky and he said, "Absolutely not" . Mrs. Stravinsky talked a lot of excited Russian to him , so finally he agreed. The man gave him a card - small like this. Stravinsky scribbled on it in tiny letters, then turned the card over and kept writing. About 10 minutes later he finally j UL Y 1 - SEPTEMBER 7 2 006 Back to Ad Index WWW.TH EWHOLENOTE. COM TORONT O PHILHARMONIA ~;3 ~ --=--4s~~-~ ~==~- KERRY STRATTON, Music Director Sept. 14 8 pm Fire and Ice Cissy Zhou, piano Arkady Yanivker, violin SOMERS Picasso Suite SIBELIUS Violin Concerto CHOPIN Piano Concerto No. 2 Oct. 26 8 pm Cellistic Romance Denise Djokic, cello BUHR Jyotir KODALY Dances from Galanta HADYN Cello Concerto in D major Nov.16 8 pm Power and Majesty Mendelssohn Singers Soloists: Leslie Fagan, Vicki St. Pierre Darryl Edwards, Daniel Hambly MOZART Requiem HANDEL Coronation Anthems Dec 3 2 pm Christmas Classics Jean Ashworth Bartle, conductor Toronto Children's Chorus Yamaha piano competition awardwinners Feb 8 8 pm Symphonic Gold Jung Yoon Yang, violin HAYDN Symphony No. 104 CONWAY BAKER Sinfonia Concertante BEETHOVEN Violin Concerto April 12 8 pm Donizetti: Don Pasquale In Concert lain Scott, Narrator Martha Guth, Soprano James Mclennan, Tenor Gregory Atkinson, Bass, Jessie Clark, Baritone Stephen Hegedus, as the Notary April 26 8 pm La Dolce Vita Alessio Vlad, Conductor/Composer Awardwinning film score from Besieged, Rota, Morricone, and other Italian film score favourites May 17 8 pm Spring Reflections Jan Simon, piano VIOLET ARCHER Symphonic Suite GOUNOD Symphony in D major DVORAK Piano Concerto SUBSCRIPTIONS: 416.499.2204 SINGLE TICKETS (after Aug. 1) 416 .872.111 1 or 416.870.8000 www.torontophil.on.ca toron t dartsbounci I An arm's length body of t he City of Toron t o

Volume 26 (2020- )

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