7 years ago

Volume 12 - Issue 6 - March 2007

  • Text
  • Theatre
  • Jazz
  • Toronto
  • Arts
  • April
  • Musical
  • Symphony
  • Orchestra
  • Choral
  • Violin

Julydennis.zimmer@tdsb.on.caTORONTO DISTRICT SCHOOLBoARD - summer Music Camps(Albion Hills/Mono Cliffs); Julydennis.zimmer@tdsb.on.caToRoNTo FACULTY OF Mus1c­MusIC THEATRE CAMP(Etobicoke)July-AugustToronto Faculty of Music's MusicTheatre Camp is two full weeks ofsinging, acting, creating sets andfun. Working with our experiencedmusic theatre teacher, DianeJames, performers receive trainingin movement and solo and ensemblesinging. Together they will rehearsedialogue, musical numbersand dance routines and engage inset design for this year's productionof MARY POPPINS. TFOM MusicTheatre Camp is committed tomaking the performing arts accessibleto children and teens. Ourprogram fosters teamwork, funand commitment that will resonatein all areas of the participant'slives long after they leave theTFOM MTC family.416-231-4424· ~TORONTO SUMMER MusicACADEMY & FESTIVALEdward Johnson Bldg, U of TJuly 22-August 19The vision of Toronto Summer Musicis to present Canadian artistsof international stature togetherwith international artists providingoutstanding musical experiencesfor audiences at the Festivaland to select pedagogues of thehighest caliber to coach and inspireAcademy students. The Academyprogram offers musicians at thethreshold of their careers masterclasses in percussion, piano,strings and winds, chamber musicworkshops for ensembles, anda four-week program in opera. TheFestival gives music-lovers opportunityto explore a wide range ofmusical styles and to deepen theirknowledge of classical musicthrough concerts, lectures, workshops,master classes and fullystagedopera performances.416-585-4464www.torontosummermusic.caTRYPTYCHTrinity Presbyterian Church(Toronto); JulyTrypTych 's Summer ContemporaryOpera Workshop runs from July 3to July 31. 2007. Featured works areArgento's The Boor, Kupferman's Ina Garden and Moore's Gallantry.Stage direction is by Edward Frankowith music direction by Dr. BrettKingsbury and Dr. Erika Crino. Inour eighth season, previous educationalworkshops have includedproductions of Adamo's LittleWomen, and Menotti's The Consul.Fully staged with piano accompaniment,our workshop rehearsalsare held on evenings and weekends,allowing those who worknine to five to participate. Auditionsto be held in the spring. Dateto be announced shortly. VocalMaster Class included.416-763-5066 x1 www.tryptych.orgUNIVERSITY OF TORONTO SUMMERWIND CONDUCTING SYMPOSIUMJuly 3-6The University of Toronto Facultyof Music is again presenting itsSummer Wind Conducting Symposiumat the Faculty of Music. Theguest clinician this year will be Dr.Gerald King from the Universityof Victoria, along with resident facultymembers Dr. Gillian MacKayand Dr. Jeffrey Reynolds . The symposiumis available to all teachersWorldSongs Vocal Camp for AdultsVillage music from around the worldFor people who love singing!!!!Featuring: Alan Gasser, Becca Whit/a, Val Mindel,Valerie Magnan and Suba Sankaran+ July 25-29 Summer Singing Retreat+ Sept 28-30on Lake SimcoeFall Weekend Workshopon Amherst Island (near Kingston) 416-588-9050, ex 2or advanced students who are interestedin working on their conductingand teaching in an intensivebut collegial OF TORONTOPoWER Music CAMPsJuly 9-20An exciting music camp for studentscompleting Grade 5 to 9.University of Toronto faculty teachstudents to become Power Musicians.Students play in ensembles,sectionals and music electives. Recreationalactivities round out the day.Students may register for band,strings or choir camp.416-978-37 OF TORONTOSCHOOL OF BOP JAZZ CJ\MpJuly 9-13Taught by Canada's top jazz performers,this camp is geared to studentswith a strong interest in jazzimprovisation. Participants will gainvaluable experience performing insmall jazz ensembles as well as instructionin improvisation, jazz history,jazz harmony, basic arrangingand jazz ear training. Open to studentscompleting Grades 9-12.416-978-37 WooDs MusicAND DANCE CAMP(Rosseau, ON)August 22-27416-461-1862 www.the-woods.caWORLD SONGS 2007 -SUMMER SINGING RETREAT &FALL WEEKEND WORKSHOP(Lake Simcoe; Amherst Island)July 25-29What could be better than singingworld music in harmony with likemindedenthusiasts, in beautifulcottage country locations, surroundedby water, with great foodand excellent company? The summerSinging Retreat on Lake Simcoewill feature Valerie Magnan teachingmusic from Quebec, SubaSankaran and Alan Gasser. Participantswill live together, eat together,and sing together for a gloriousand unforgettable five daysof song-raising, culminating in acouple of weekend local performances.The fall weekend workshopat the Lodge, a beautiful pastoralretreat on Amherst Island nearKingston, will feature Val Mindel,specialist in Appalachian and GospelMusic and Becca Whitla.416-588-9050 www.worldsongs.caYIP's Music &MONTESSORI SCHOOLS(Markham, Thornhill)July 3-August 24Yip's Sommermusik Academy is anintensive chamber music and performingarts program featuringstrings, brass/woodwinds, piano andvocal training. For young musiciansaged 8 & up. Music performances,workshops and orchestral training.Sight-reading and ear tests, theorytraining, practice techniques, assistin achieving best results in RCMExaminations. Dance, Choir, Languageand Visual Arts. Music Tripsand concerts. Music instructorswanted for Sommermusik 2007!Located at 100 Lee Avenue,Markham. Info: 905-752-0275;eduarda@yips .com905-513-0955www.yips.comYip•1 Somme1mu1ilt Academy 1007(July 3 - nu9u1t ~'I)"An intensive chamber music & performing arts program featuringStrings, Brass/Woodwinds, Piano & Vocal for Young Musicians 8 & up"Assist in acquiring highest ranking in RCM ExamsOrchestral Training & Chamber GroupsPractice Techniques, Theory TrainingSigh Heading. & Ea1 Test SkillsMusic Trips & ConcertsMustc instructors VI-anted!www.ytps.comUnionville Campus 905-752 027566 WWW. THEWHOLENOTE.COM M ARC H 1 - APRI L 7 2007

"How I MET MY TEACHER"Formative Experiences in Musical LifeCOMPILED AND EDITED BY MJBUELLCynthia Steljes rememberedby Leanne McMurrayJust when the caterpillar thought the world was overit became a butterfly (Anon.)It was after the first time that I saw Cynthiaperform that I asked for a lesson - I somehowfound the courage to ask for a lesson. She said"yes" and I studied with her ever since. It wasin that moment, without her knowing it, that shesaved my life. At that time I remember I waslost, I was desperate to be anyone but me. I wasready to give up on my music and life really. Idid however have my oboe and a heart that neededto sing. I held so tight to this.Few people in our lives can affect us the way ateacher can.Cynthia taught me oboe, but in the process taught me life- and thisbegan with learning how to breathe. Many lessons would start by uslying down on the floor and just breathing. Together. Cynthia caredto teach me this. She took me right back to the beginning and slowlyand gently built things from there. She had amazing patience.Cynthia was truly a master at what she did. She had pulled apartthe oboe, broken down the art of playing and performing and put itall back together again. She then gave this to me. I am privilegedand more proud than you can imagine that I carry with me her brilliantknowledge and passion.During the ten years of this magic, of Cynthia's honesty and respect,lesson after lesson, I grew as a player and musician but mostlyI grew as person. I had the added joy of house-sitting, takingcare of Beau Dog and doing yard work in return for free lessons andjust being around her in her everyday life.When Cynthia got sick, I hoped so badly that she would teach meagain someday. And then I realized that she was teaching me still asshe struggled and fought for her life with grace and courage.When I started studying with Cynthia, oboe was everything to me.It was life or death. If I couldn't play in front of many, if I didn'tbecome great, I thought I'd die. I believed I would be nothing. Todaythat oboe is the furthest thing from death. The fact that I canbreathe my heart through two tiny reeds and make a glorious soundis nothing but life. Cynthia's dying taught me this.***Every once in a while I realize that Cynthia is really gone-and Ipush it out of my heart as fast as I can so it doesn't sit there andgrow into the most empty pain that I know. It is usually at night,when I am quiet in bed and there is nothing but the still silence andmy all alone thoughts. It is then that I realize what has happened.It was about ten years ago that Cynthia found me-or I found her.I' m not sure exactly which way that goes. I do believe though thatGod,or whatever the forces that may be in this universe, intendedfor her to be in my life.I was right with Cynthia when she went. I held her hand so tightand as she lay there waiting I could almost hear her whispering tome .... "Embrace life Leanne, embrace every moment of it. Don'twaste your gifts, go and be YOU."I will sometimes hear these words, also at night, when I am walkinghome and I look up at the dark blue sky, that kind of blue youonly see at night, and I know she's there, smiling. Then in my heartI do embrace the one last lesson that she gave me, that in her death Ifound life. It was a gift to have known her. I carry her with me foreverand ever and ever. Always, always, always.Musical Life would like to know how you met your teacher, andwelcomes your suggestions. musicschildren@thewholenote.comBook Shelfby Pamela Marg/esMusic in Canada: CapturingLandscape and Diversityby Elaine KeillorMcGill-Queen's University Press512 pages + CD, .95Music has long been an essentialpart of the identity of this country,as Elaine Keillor makes clearin this monumental history ofmusic in Canada. The first operato be produced in Canada,Joseph Quesnel's Colas et Colinette,dates from as early as1790. By 1830, Canada was beingdescribed as 'the most danceloving nation on earth'.In many ways the distinctivenessof Canadian music lies in itsvery diversity. But Keillor goesfurther in 'pinpointing the Canadiansoundmark', finding a commonthread in the Canadian landscape.A musicologist and concert pianist,Keillor documents 'the fullrange of sounds' produced inthis country. She presents a comprehensiveamount of material ina full range of styles, includingclassical, jazz, rock, and folk.Some of the most fascinating andvaluable sections deal with musicof the First Peoples and nineteenthcentury music.But when all styles of music aregiven equal cultural weight, musiciansbecome valued for qualitiesother than artistic purpose and enduringmerit, such as the ability tofill hockey arenas and make pilesof money. Keillor writes that singer-songwriterAlanis Morissette'was determined to become a starfrom an early age'. And indeedshe has. But does Morissette'swork merit such detailed analysis,when Keillor can discuss only asmall proportion of concert, jazzand film composers and performers,leaving out, to name a few,Brian Cherney, Linda CaitlinSmith, Howard Shore, Jane Bunnett,and Marc-Andre Hamelin.Nonetheless, this is a landmarkin the study of music in Canada,and, if somewhat too broad inscope, it provides both a fascinatingnarrative and an indispensablereference. There are photos, musicalexcerpts, index, bibliography,and a delightful CD of piano andorgan pieces performed by Keillor.The extensive notes are worthreading on their own.Black Rhythms of Peru:Reviving African MusicalHeritage in the Black Pacificby Heidi Carolyn FeldmanWesleyan University Press317 pages, .00 USThe music of Peruvians of Africandescent has a rich but long-secrethistory. In one of the greatest of itsmany ironies, it received its biggestboost internationally when DavidByrne produced a groundbreakingcompilation disc in 1995, 1he Soulof Black Peru. EthnomusicologistHeidi Carolyn Feldman here defendsByrne from criticism, warning'how facile assumptions aboutthe cultural origins of world musicmay lead to judgment errors regardingquestions of appropriationand authenticity.'Afro-Peruvian music is a uniqueblend of elements from the Africanslaves, the indigenous natives ofthe Andes, and the colonizingSpanish. Many of the instrumentsare unique, like the caj6n, a largebox drum, the quijada de burro, ajaw bone, and the cajita, a littlewooden box.Feldman pays tribute to pioneerslike Peruvian folklorist Jose Durand,who was considered an outsiderbecause he was white, andRonalda Campos, whose groupPeru Negro is still flourishing today,and goes up to the presentwith musicians like Susana Bacaand Eva Ayll6n.Feldman's clear and lively textbenefits from her formidable researchand extensive interviews.There are photos, an index andcomprehensive bibliography. But adiscography would have beenhandy , since Feldman's enthusiasmfor the music makes you want tolisten.CONTINUES NEXT PAGEM ARC H 1 - APRIL 7 2007 WWW. THEWHOLENOTE.COM 67

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