8 years ago

Volume 16 Issue 6 - March 2011

  • Text
  • Toronto
  • April
  • Jazz
  • Faculty
  • Ontario
  • Western
  • Symphony
  • Musical
  • Concerts
  • Orchestra


QUARTETS 3, 4JERUSALEMQUARTETTh. Oct. 132011 ~ 2012 Subscription SeriesGRYPHON TRIOTh. Nov. 1740thAnniversary SeasonGREAT CHAMBER MUSIC DOWNTOWNTOKYO QUARTETTh. Sept. 15withMARCUS GROHpianistLAFAYETTEQUARTETTh. Jan. 19TOKYOQUARTETTh. Mar. 15PIANO 6, 8LISEDE LA SALLETu. Nov. 8MARCUS GROHTu. Sept 20LOUISEBESSETTETu. Dec. 6LESLIE NEWMAN, flutist, withERICA GOODMAN,harpistTh. Jan.12QUATUORBOZZINITh. Apr 5ST. LAWRENCEQUARTETTh. Dec. 1ARTEMISQUARTETTh. May 3DISCOVERY , including HSTRICHARDGOODETu. Mar. 6MARC-ANDRÉHAMELINTu. Mar. 27VÉRONIQUE MATHIEU, violinistwith pianistANDRÉE-ANNE PERRAS-FORTINTh. Mar. 22WALLIS GIUNTA, mezzo sopranowith STEVEN PHILCOX, pianistTh. Mar. 1Full season of 16 concerts 4, 3Other combinations availableat416-366-7723 1-800-708-6754order online at www.stlc.comlCanadian PatrimoineHeritage canadien

approach the drum with fullbody, mind and spirit.”Returning to myexchange with DameEvelyn Glennie andmentof Western classicalpercussion music, at one pointin the exchange she noted:“The progression of percussionhas happened in a totallyorganic way in the West andNexus Then: left to right, RussellHartenberger John Wyre,Michael Craden, Bob Becker.we should respect that. The types and quality of instruments havegreatly improved over the last century allowing greater depth ofemotion and the possibility to physically project better in our bigperforming spaces... The physical negotiation of playing the instrumentshas allowed real specialists to evolve in many areas of playingsuch as timpani, marimba, vibraphone, drumkit, etc., thus feedingcomposers with [performers possessing] greater skill in exploringthe physical and emotional content drawn from their instruments.”While Glennie draws on her own career of commissioningand premiering over 160 compositions for this insight, the pioneerCanadian percussion group Nexus could well be the dictionaryStrasbourg, Nexus occupies the front rank of percussion ensembles,paving the way for many others who have followed. These virtuosomusicans have trekked intrepidly ever since their 1971 premiere, andPeople’s Republic of China. Nexus is particularly renowned for theirimprovisational skills and their interpretations of 20th century avantguard masterworks alongside music from other global cultures.With its March 12 Glenn Gould Studio concert marking 40years of music making, dare one ask if Nexus shows signs ofslowing down? Reached on tour in Syracuse, NY, founding Nexusmember Bob Becker commented, “Mostly at our age we simplyhope to continue to play music! Seriously, the Toru Takemitsuconcerto From Me Flows What You Call Time, written for us andsymphony orchestra, is one that still offers challenges and room forexploration.”Premiered at Carnegie Hall’s centennial celebration in 1990,this work remains one of Nexus’ grandest calling cards, a profoundmusical experience I had the pleasure of witnessing at a TSO seasonconcert some time ago. During its long career, Nexus has gone onto create a deep and broad body of music performance, education,recordings and an illustrious history of collaborations and commissions.Inducted into the Percussive Arts Society Hall of Fame in1999, over the years they have released a remarkable total of 22 CDsincluding the Juno-nominated Drumtalker. Increasingly their “book”forms the core repertoire for percussion ensembles around the world.I asked why most of the group’s members, originally American,chose to settle in Toronto. “There was a special atmosphere inToronto the early to mid70s,” said Becker. “Boththe musicians and audiencethen seemed to embracesonic exploration and freeimprovisation, plus there wasfreedom to collaborate withother artists such as paintersand dancers.”After four decadesNexus Now: left to right, Bob however, let’s face it, theBecker, Garry Kvistad, Bill road does take its toll – evenCahn, Russell Hartenberger.for the most passionate sonicpilgrim. I wondered if Nexus plans to reduce the vast number ofinstruments they use to set up on the stage for each performance. “We can’t reduce our instrumentation drastically, however, since werequire our own custom instruments such as the large marimbas andspecial xylophones I use. We still tour with a loaded 16-foot truck!Another reason is that percussion instruments are less standardizedthan most others, less than strings or winds for example. Eachoffer our audiences.”“We’ve got a few new exciting works coming up such as TheCrystal Cabinet by (Nexus regular) Bill Cahn which we’ll premiereat our Glenn Gould Studio concert. Also for a number of yearswe’ve been inviting percussionists such as Ryan Scott to play with us.At our upcoming Glenn Gould Studio concert we’re excited to haveTSO principal timpanist David Kent join us.”Nexus’s March concert also features Cinq Chansons pourPercussion (1980) by Canadian composer Claude Vivier (1948-Indonesia, and the music of the gamelan, a percussion-rich ensemblein which tuned metal, wood and bamboo percussion instrumentsare featured. the eight member Evergreen Club Contemporary Gamelan (ECCG)(of which I am a member) is now in its 28th season. As noted in myWorld View column later in this issue, ECCG performs in concertwith the Via Salzburg Chamber Orchestra on March 24 and 25 atthe Glenn Gould Studio. Many ECCG musicians have not only studiedwith members of Nexus but have also performed and toured withNexus itself. Cementing that connection, Nexus co-founder Johneven further however to two of the “founding fathers” of Americanpercussion music mentioned earlier. ECCG commissioned and premieredworks by both John Cage (Haikai, 1986) and Lou Harrison(Ibu Trish, 1989) toward the ends of their illustrious careers.Percussion may have taken a thousand years to acquire westernand change, and under the stewardship of practitioners such asGlennie, Kodo and Nexus, can we safely say it has arrived? Welcome to Tapestry, the home to new opera.NEW OPERAWAYNE STRONGMAN MANAGING ARTISTIC DIRECTOR 2010 / 2011 SEASONOn Sale NowTHE ENSLAVEMENT ANDLIBERATION OF OKSANA G.BY COLLEEN MURPHY & AARON GERVAISWorkshop Performance of Act 1March 9 & 10 | 7:30 PMErnest Balmer Studio at TapestryYou can find us onBecome part of a growing audience for this highlyanticipated landmark production, a sprawling newmultilingual work exposing the heartbreakingworld of the sex trade.Tickets on Sale 416.537.6066or tapestrynewopera.comWorks in DevelopmentJUNE 2011: NEW OPERA SHOWCASESINGLE TICKETSFOR ALL EVENTS Regular Price Students & Arts WorkersPHOTOGRAPHY BY Brian Mosoff www.brianmosoff.comMarch 1 - April 7, 2010 11

Volumes 21-25 (2015-2020)

Volumes 16-20 (2010-2015)

Volumes 11-15 (2004-2010)

Volumes 6 - 10 (2000 - 2006)

Volumes 1-5 (1994-2000)