~E TO|oNTO CºNSO|tP|aETO|iUSCH|iSTMAS VESPERSVespers for SaintGertrudefridayjanuary 14 th8:00 pmChurch ofSt Mary Magdalene477 Manning Ave416-531-7955Pay whatYou canMedieval Music for women’s voicesknow a lot about this.” It doesn’t mean I’m married to the exactreproduction of every detail.To what extent have the values of the early music movement beenabsorbed by “mainstream” players?a shift. It’s one of those things when you wake up one day andrealize that you’ve been in the centre of the revolution – the worldhas changed. Symphony orchestras, if they’re doing baroque things,tend to bring in specialists. They don’t usually do it with their ownconductors, unless their conductor happens to be someone whoknows a lot about baroque performance, like Simon Rattle. And Iwas a lot of real animosity, like we were taking their territory away.But now there’s more a sense of sharing.I’ve noticed that “mainstream” orchestras don’t very often play thosebig Bach-Stokowksi arrangements or Hamilton Harty’s Handel anymore. Do you think the early music movement has something to dowith that? Absolutely. I think that repertoire has lost its lustre. AStokowski arrangement is beautiful in its own way, but it’s very mucha period piece. It was popular in the mid-20th century – and it wasreally not about Bach, it was about Stokowski. It had its charms, butnow we’re hearing Bach differently. That’s my personal view of it.Getting back to Tafelmusik, what are you doing these days that’s newand different? We just did a programme of Chopin on period piano– we’ve never done that before. And some of Alison Mackay’s programmingthat I referred to earlier involved multi-media, acting andvisual arts. But it’s always a concert where the “other things” arethere to give the music context. It’s not like we’re doing somethingthat you can’t really identify as a concert any more – it’s concertswith more context, both historical and contemporary. works: our “Galileo Project” and our “Sing-Along Messiah.” Andwe have quite a presence online and on social media. That’s excitingbecause it gives us new ways to get out to the world. We’ve madesome YouTube videos, for example, which there would have been nowe’re doing new things with formats as well as content.Jeanne Lamon and members of the Tafelmusik Baroque Orchestra.You mentioned your recent Chopin concert – and you did someMendelssohn last year. How far do you plan to advance into the 19thcentury? Will you do Wagner in 2013, for his 200th birthday? Notin 2013 – but I won’t say we’ll never do Wagner. But we’re alwaysmusically curious to explore things that are new and different. TheChopin was certainly a stretch for us – but I can remember theNinth: that’s a bitof a stretch for us, and we love doing it. How far will that go? Idon’t know. I imagine Schumann isn’t too far away, and I’d loveto do Berlioz. But the 19th century will never be the core of ourrepertoire: we’re not going to be a romantic orchestra. The baroqueand classical will always be the core.www.Scholamagdalena.cacontinued on page 7810 thewholenote.comDecember 1, 2010 - February 7, 2011
Aspects of OscarGEOFF CHAPMANAn intimidating soloist, a superb technician, a vivid improviser,an impressive accompanist, a formidable groupleader, a master of swing, melody and harmony, theleading pianist of his generation – and without doubt thebut Oscar Peterson?Millions of words have been etched about the life of the Montreal-born,Mississauga-based star who died three years ago at 82,--One aspect of that very word means a feature or element, whichcianshad unique relationships with Peterson, but looking at theOscar Peterson. -after a 1993 stroke severely hampered the range and power of thean intermission on-stage chat with Mehta that also featured vocalist clearly channeling Peterson and warm contributions from guitaristcontemporary bent, but his work, especially with mute, was well-Post-intermission tempos and creative heat increased, withcomposed for the 1986 album Oscar Peterson Live December 1, 2010 - February 7, 2011 thewholenote.com 11
