Quebecois domiciled in France:tenor saxophonist Frani;:oisTheberge and drummer Karl Jannuska.The five play nine Freeboporiginals.Neither date is far out, unlikeBerthiaume's earlier reductionistCDs. Here the guitarist's supple fillsand soloing lie within parameters setby Herb Ellis and Bill Frisell, givingthe CD a country-ish vibe. Due tothe additional colours available fromthe horn section, the quintet date ismore memorable. Expansive arrangementscreate voicing thatmakes the band sound bigger thanfive pieces. Have You Met Mr. Jonesis the stand-out track. Written byDonato, it's a slinky ballad centredon the bassist's rounded grace notes.Around him are call-and-responsehorn riffs and echoing guitar fills.Elsewhere Donato's woody lopeanchors the improvisations. Wojtasikshowcases muted gracenotes; Theberge intense doubletonguedtrills and slurs; Jannuskarestrained rolling bounces; andFelberbaum speedy runs.Similar teamwork is apparent onthe other CD, although the guitaristtakes most of the solos. In thissmaller setting Donato is moresensed than heard, though his oblique,sturdy piloting remains . Thenub of Tanguay's accompanimentis rim shots and ratamacues,unique additions to the guitarist'slapidary solos.Using chiming runs, Berthiaumeshines with a natural romantic bent.Prime instance of this is Nose Worthy. Sprinkled with C&W licks, thestraightforward melody skirts ordinarinessdue to drum rolls andpops plus a walking bass line.Tough plucking from Donato rescuesother tunes where the guitarist'sfinger-picking threatens tomove into supper club territory.Both CDs are fine examples ofan older master' s collaborationwith younger improvisers .Ken WaxmanBlues in the NightAnn Hampton Callaway; SherrieMaricle; Diva Jazz OrchestraTelarc CD 8364166CONTINUES ON PAGE 68I. Classical GendingsGamelan of Central JavaDunya fy 8041II. Ceremonial MusicGamelan of Central JavaDunya fy 8042Extended play -- the depths of KarawitanIII. Modes and Timbres•Gamelan of Central Java .Dunya fy 8073 ---- _IV. Spiritual MusicGamelan of Central JavaDunya fy 8074V. Gaya Y ogyakartaGamelan of Central JavaDunya fy 8075VI. Kraton SurakartaGamelan of Central JavaDunya fy 8103VII. Edge of TraditionGamelan of Central JavaDunya fy 8104The Italian label Felmay has released seven remarkableCDs of first-rate performances on severalmuch admired Central Javanese gamelan (orchestras).For those unfamiliar with the term, I use'gamelan' here not only for the percussion-basedorchestra of Java, but also to refer to the musicmade on it. Javanese musicians amongst themselvesoften use the flowery term 'karawitan' forthis traditional music.With mythic roots in the Sufi-influenced Javanesekingdoms of the 16th century, over time, gamelanand its music has permeated the various levels ofJavanese society. Ethnomusicologist Daniel Wolfwrites in the liner notes: "Gamelan is played todayin Central Java by Muslims, Protestant and RomanCatholic Christians, Buddhists, Hindus, as well asby the nominally Muslim adherents of Javanese mysticism."Thousands of gamelan sets are found in villages,palaces, radio stations and schools throughout thisisland of some 115 million inhabitants .Gamelan is used as a medium for mediation by itsperformers, as well as for various kinds of theatre:dance, shadow puppetry and various genres of opera.Gamelan has also escaped its original islandconfines over the last century and spread around theworld. Today, Torontonians can boast of sevengamelans of various types played by students, amateursand even professional musicians amongst us.How can a single series of seven CDs capture theessence of this spiritually and aesthetically profoundsound world? How can an outsider attempt topresent an extensive musical repertoire from aliving tradition of thousands of pieces, some withroots going back 500 years, and still others composedyesterday? How can recordings capture theintricate depth of the multifarious orchestral soundof gamelan and present it in a meaningful way tonon-Javanese listeners?WWW. THEWHOLENOTE.COMThese are some of the issues addressed by Italiangamelan aficionado, patron and music producerJohn Noise Manis , whose many music projects canbe found on his site yantra@gamelan.it. Theseseven Felmay CDs are a testament to his passionfor the gamelan music of Central Java. Since 2001 ,he has intrepidly and repeatedly traveled to Java torecord this magnificent music at various musicconservatories, royal and princely courts, andradio stations.Not simple field recordings these, each CD comeswith its own clearly-articulated theme, noted in itstitle and supported in the liner essays by leadingscholars in the field .Volumes I, II and IV arguably showcase the heartof the tradition. The ritual gamelan Sekaten, whichperforms monumental and iconic instrumentalpieces during the holy week celebrating the birthand death of Prophet Mohammed, is featuredtherein. An even earlier music, the Hindu-kingdomera ceremonial repertoire performed at the palaceof Mangkunegaran (in the city of Surakarta) isrepresented by the works 'Kodhok Ngorek' and'Carabalen'. Each of these is performed on its ownspecial gamelan on Vol. II.On the other end of the spectrum, Vol. VII, "Edgeof Tradition" features a particularly fascinating andmusically satisfying experiment on track 2, 'KombangMara'. Here, two female vocal soloists (pesindhen)inter-weave their different texts and melismaticvocal melodies which are derived from aseparate vocal genre called 'macapat' over gamelanaccompaniment. This resultant mix may beparticularly attractive to western ears attuned topolyphonic music.Vol. III, "Modes and Timbres" offers a differentvantage point, one from which the various melodicmodes used in gamelan are explored. In addition,the different families of percussion, wind andstring instruments are highlighted in novel andrevealing ways.These CDs by no means exhaust the range of currentgamelan practice. In my wish-list for furthervolumes, I'd like to put in a request for the morepopular offshoots of gamelan music. These includesuch genres as 'Dangdut' (in gamelan adaptation),'Sragenan' and 'Campur Sari', none of which arerepresented in the present series. The latter genreis so wildly popular in its homeland that some feelits dominance threatens established types of gamelanmusic. I would like to suggest that for a westernaudience hungry for new 'world music' experiences, these upbeat and attractive 5 minute songbasedgenres may serve as a tempting appetizer tothe masterpieces of court art - which I personallycherish - such as the 31 minute long Gending Danaraja,Vol. I, track 3.Taken as a collection these CDs add up to a comprehensive,though unorthodox, survey ofwellrecordedCentral Javanese gamelan-based music.Even casual world music listeners will find individualCDs indispensable to their music libraries.Hardcore heavy-metal (gamelan) aficionados willcertainly want to collect them all.Andrew TimarSEP TEM BER 1 - O CTOB ER 7 2006
Who Pays for WholeNote?How you can helpPeople often ask where the money comes from that pays for WholeNote,and what they can do to help. Here are some answers to these questions.AdvertisersOur primary source of revenue is the sale of advertising in the magazine.One way the readers of WholeNote can help is to respond to the advertisingin WholeNote: go to concerts, buy CDs and let advertisers know that yousaw their ads. You can also help both WholeNote and your favourite smallpresenter by donating an ad for the presenter. It's a win/win/win scenario:the presenter's event gets needed exposure, if the presenter is a registeredcharity you get a tax-deductible receipt and WholeNote gets revenue from thesale of the ad.WholeNote MembershipsMany of the presenters whose concerts are listed in WholeNote pay anannual membership fee of 5. In return we publish a profile of theirorganization in the October issue and on our website and give them a substantialdiscount on advertising.You can help a small, struggling presenter by purchasing a membershipon their behalf, resulting in the same win/win/win scenario as purchasing an ad.SubscribersBecause WholeNote can be picked up at no charge at approximately 1200locations across Southern Ontario, it has a small subscriber base. Althoughalmost all the revenue from subscriptions goes into the cost of sendingthem out, they do help us by adding to our credibility with advertisers. As apaid subscriber you can receive WholeNote by mail for per year. Pleaseconsider taking a subscription, either for yourself or as a gift for someoneelse.Businesses and Other OutletsWholeNote is available at many retail outlets, such as music and recordstores, music schools, book stores, libraries, coffee shops, health-careclinics, restaurants and concert venues. We are forever appreciative of thegenerosity of their management for giving us the space to make WholeNoteavailable. In return, when people ask us where they can pick up WholeNote,we refer them to these locations.You, our readers, can help both WholeNote and the businesses andservices that do this for us by patronizing their establishments. Buy a cupof coffee, a book or a CD when you go in to pick up your copy ofWholeNote.VolunteersWholeNote is looking for volunteers to give out copies of the magazine atconcerts for about 45 minutes before each concert begins and then to attendthe concert. We also need a volunteer co-ordinator to make the arrangements.If either of these interests you, send an email to simone@thewholenote.comor call Simone Desilets at 416-323-2232 .Other ContributionsOver our 11 years of publication, we have heard from many of ourreaders that they consider WholeNote to be their "Bible" for concertevents and happenings within Ontario. Some readers have expressed adesire to participate in helping WholeNote do its job better or more effectively.We are eager to hear from individuals who share WholeNote'scommitment to bring to our readers' attention as many classical, jazz and newmusic events as possible.If you would like to donate time, resources, ideas or suggestions toWholeNote please contact us at publisher@thewholenote.com, or talk to ourpublisher, Allan Pulker, at 416-323-2232S EPTEMB ER 1 - O CTOBE R 7 2006WWW.THEWHOLENOTE.COM
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!).
