BRIEFLY The 2006 Federal Election: a setback for arts advocacy Leading up to the general election for the 39th parliament, arts groups were vocal in advocating increased commitment to the cultural sector, and as is usual in elections, the parties made promises in reply. The Canadian Conference of the Arts (www .ccarts.ca) dissected the cultural platform of each party and tracked the advocacy efforts of other arts organizations. The message from the Canadian Arts Coalition leading up to the election was that the arts community needs to tell candidates about the importance of making the commitment to increase funding to the arts (by per Canadian) under a new government. Also among the key issues: increased funding for the Canada Council, protection of creator copyright in the digital age, fairer tax treament of artists; and the role of the CBC and other institutions. With the election of a minority government, progress on arts issues will require consensus among the parties, so continued advocacy efforts and vigilance will be more important than ever, or inertia will surely prevail. BROADCAST BUZZ The [reversible] decline of CBC Radio by Paul Steenhuisen Since early November, CBC Radio One has undergone changes that have listeners, artists, composers, and many others concerned about the future of public radio in Canada. While some have rightfully argued that negative change began decades ago with a series of sharp funding cuts, the inclusion of programs such as Freestyle and The National Play list on Radio One mark a noticeable decline in the quality of programming on our public broadcaster. CBC Radio's goal of being "water-cooler fodder" and background music in dentist's offices is a new low point in public radio. While CBC Radio insists that they are increasing diversity, they are in fact reducing it by providing content that is readily available elsewhere on commercial stations. Airtime devoted to Shania Twain, Bruce Springsteen, Elton John, etc. comes at the expense of independent, in-depth Canadian stories and rich original content. It replaces our poets, artists, scientists, filmmakers, composers, environmentalists - our national identity and ourselves. In voicing concern about these changes, people are protecting a shared public interest from self-destruction through commercialization, and respecting the full range of di- Please turn to page 24 Violins, violas, cellos, and bows Complete line of strings and accessories Expert repairs and rehairs Canada's largest stock of string music Fast mail order service Are you listening? According to the new national study by Early Music America, "early music is an integral part of classical music making in North America, with an astonishing 98.5 million American adults listening to some early music in the past year on radio or on recordings. About 21.4 million of these attended a live performance of early music in the last year." So, what does that mean? Well, for starters, early music is now more widely accepted as part of the classical mainstream. This EARLY Music by Frank Nakashima study has shown that more classical musicians now play historical versions of their instruments. Not only that. Over 75 % of respondents from Chamber Music America have admitted that "historically informed performance practices have had a significant impact on the way they play their modern instruments." Well, how about that? Apparently, a grant from the National Endowment for the Arts paid for the services of a professional research firm, Robinson and Muenster, which conducted surveys both of the general public and EMA members. EMA also conducted comprehensive in-house surveys to assess activities of its organizational members, educational institutions, and the members of Chamber Music America. While most of us here could never imagine making a full-time living from playing and teaching any kind of music, let alone early Tafelmusik 's February concerts highlight Mozart during this 250th anniversary month. American pianist Robert Levin stars music, it seems that, in the US, "the majority of professional players make between 50 % and 60 % of their income directly from early music, supplementing their income from other sources, creating a profile similar to that of many classical musicians." The 32-page report, Early Music in America: A Study of Early Music Performers, Listeners, and Organizations, is available in its entirety at the Early Music America website, along with supplemental data reports and documentation. See www .earlymusic.org Around town Using historical instruments, L'lntemporel Baroque Ensemble (Mylene Guay - baroque flute, Laura Jones - baroque cello and gamba, David Sandall - harpsichord) explore the practice of basso continua (a method of indicating an improvised harmonic accom- Geo. I I , D ~ & Co. Limited CONSERVATORS & PURVEYORS OF Fine & Rare Violins www.thesoundpost.com info@thesoundpost.com 20 I Church St., Toronto, ON. M5B I Y7 Tel: 416-363-0093 • Fax: 4 16-363-0053 Email: ghcl @idirect.com www.georgeheinl.com Canada's foremost violin experts. Proud of our heritage. Excited about the future. WWW. THEWHOLENOTE.COM EBRUARY
paniment for keyboard, lute, etc. using bass notes along with numbers or figures) in 18th century music (February 12). To give the music some context, the Musicians In Ordinary are presenting a series of concerts which relate to objects from Bata Shoe Museum's collection, including the 17th century courtesan's platform shoes and the stockings of Charles I (February 17). The music, from the early Romantic period, includes lieder by Schubert, Beethoven & Mozart, arranged by Diabelli & Matiegka for voice and guitar - Hallie Fishel, soprano; John Edwards, lute/guitar. Celebrating the 250th year of Mozart's birth, Tafelmusik Baroque Orchestra, with special guest male soprano (yes, really!), Michael Maniaci, present Amadeo: Mozart in Italy (February 3-5, 7-9, matinee: 11 ), and later in the month, Mozart at the Piano, with the brilliant American fortepiano genius Robert Levin who will perform the Piano Concerto #24 inc. You can also take part in The Mozart Game and hear Mr. Levin play improvisations in the style of Mozart using audience suggestions (February 22-26). This man seems to be a reincarnation of Mozart himself. In March, the Toronto Consort turns to the dramatic world of the early oratorio, highlighted by Carissimi's Jephte (1650) which greatly influenced the development of opera, and which contains some of the most moving vocal music of the early Baroque (March 3 & 4) . Suzie LeBlanc, one of Canada's most gifted singers, stars as PHILIP L. DAVIS Luthier Formerly with)}. Schroder: Frankfurt, West Germany A Fine Selection ef Small and Full Sized Instru- 416-466-9619 67 Wolverleigh Blvd., Toronto ON M4} 1R6 Jephte's daughter who is sacrificed because of her father's foolish promises. Also on the program are dramatic motets and oratorios of the late Renaissance by Lasso, Schiltz, and Merula. Beautiful music. Emma Kirkby Countertenor Daniel Taylor reprises Pergolesi's Stabat Mater (February 26), this time with the internationally renowned soprano, Emma Kirkby. Accompanying them will be his band, the Theatre of Early Music. They'll also be singing some Renaissance lute songs & duets. Special guest Martha Henry, reader. Joseph Petric and Normand Forget plan to perform the complete Organ Sonatas ofJ.S. Bach (March I). This concert is a fundraiser in support of an upcoming CD of this music performed on concert accordion and oboe. The admission price ( at the door) includes the concert and the CD (as soon as it is available). These fellows plan to continue their exploration of traditional repertoire for new instrumental combinations; their "New Bach Series" will also include the Flute Sonatas as well as the Goldberg Variations. People have told me that Bach's music sounds fine on almost any instrument. There's no denying the excellence of the music, that's for sure. And Petric and EMMA KIRBY SOPRANO DANIEL TAYLOR COUNTERTENOR WITH MARTHA HENRY ACTOR THEATRE of EARLY MUSIC RENAISSANCE DUETS & SONGS PERGOLESI STABAT MATER Forget genuinely love this music. 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 peiformances of early music www. inter log .com/ - temc ~~ 0 sql~iiat¥Mlffl Larry Beckwith artistic director Renaissance lute songs and madrigals co-mingle with modern torch and blues songs as Toronto Masque Theatre ponders the often rocky road of romance. Featuring a new piece by Omar Daniel involving the whole gang. Complementing the music will be poetry and prose selections. Come have a d rink and toast the heart! 8 p.m. (J: 15 pre-concert event 11:00 post-concert Jam; Gladstone Hotel B II 12 1 a room 4 Queen Street West -r , ,oronto Tickets: Phone: 416-410-4561 E-mail: torontomas h quet eatre@sympatico.ca .. Laidlaw ;Jf!!!.. Foundation to ront dart s bo u n c i I An a rm's l• ngH, body o! th• City o f Toronto EBRU ARY
