7 years ago

Volume 17 Issue 6 - March 2012

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LEGENDS INLITTLE ROOMSTHE INTIMATE VENUES TOURMARCHSTRUNZ & FARAH≠ 14 Hugh's Room, Toronto. Tickets: 416-531-6604≠ 15 Capitol Theatre, Port Hope.Tickets: 905-885-1071≠ 16 Hamilton Studio, Hamilton. Tickets:≠ 17 Aeolian Hall, London. Tickets: 519-672-7950≠ 18 Market Hall, Peterborough. Tickets: 705-742-9425APRILOTTMAR LIEBERT≠ 25 Market Hall≠ 26 Capitol Theatre≠ 27 Hamilton Studio≠ 28 Aeolian Hall≠ 29 Hugh's RoomMAYJORGE MARTINEZ≠ 23 Hugh's Room≠ 24 Capitol Theatre≠ 25 Hamilton Studio≠ 26 Market HallBeat by Beat / In With the NewThe New Creatorsdavid perlmanPETER EötvösIf you are a follower of new music but didn’t know the name ofHungarian composer/conductor/educator Peter Eötvös till now,don’t be too hard on yourself. According to Robert Aitken, “Thereare many like him, with huge careers in Europe, and correspondinglybusy, but they have no reputation on this side, until someoneinvites them here, and sometimes not even after that.” New MusicConcerts artistic director Aitken extended such an invitation toEötvös more than three years ago to come and do a concert, ofEötvös’ own devising, for NMC. “I’d have liked him to come in2011,” Aitken says, “but when I reached him I was told there werealready plans under way for him to come in 2012, and there was avery slim chance he would have time for both.”Those “plans under way” were for Eötvös to play a leadingcuratorial role in this year’s TSO New Creations Festival, a series ofthree concerts, March 1, 3 and 7 at Roy Thomson Hall.With the same blend of pragmatism and cooperation that manifesteditself between Soundstreams and the Canadian Opera Company duringcomposer Kaaija Saariaho’s visit last month, Aitken hitched theNMC wagon to the TSO calendar. The upshot is that three days afterthe March 7 final concert of New Creations, Eötvös will also do aconcert with NMC, on March 10, at the Glenn Gould Studio.Aitken’s connections with Eötvös come from Aitken’s many yearsteaching in Freiburg, Germany, with Eötvös based in Karlsruhe,“one town away.” Aitken is looking forward immensely to the wholevisit, not just the NMC leg of it. “He [Eötvös] is well respected asEmergents IIIna Henning (accordion) andMarc-Olivier Lamontagne (guitar)performing works by Wolpe, Quell, Höstman and othersPart of the Emerging Artist SeriesMar 9 | /Lisa Cay Miller:Telling StoriesPart of the Jazz Avant SeriesMar 23 | / | adv TW/SS/RTSt George the Martyr Church • 197 John St. • Toronto416-204-1080 • www.musicgallery.org18 March 1 – April 7, 2012

a composer in Europe, and it is deserved. He just doesn’t makemistakes. Clever like a fox, is what I would call him, a French expressionistbut with an absolutely distinctive Hungarian accent! Andhis conducting is as good.”It’s interesting to compare the role of Eötvös as “curator” as itapplies to the NMC and TSO legs of the visit. The NMC concertis very tightly knit, as befits its smaller scale, and it’s possible tosee how each of the choices on the programme comes directly fromEötvös himself. But in the case of New Creations, with the bestwill in the world, there are many more factors at play. There areworks that have been commissioned from local composers to fit inwith a theme. There are the happy accidents arising from meetingson the road. The significant presence of clarinettist/composer JörgWidmann in thePeter Oundjian.series, for exampleis as likely to havematerialized fromWidmann’s playing aMozart concerto underOundjian’s batonsomewhere in Europe,as from a connectionbetween Eötvös andWidmann. But of suchhappy accidents istrue creative fermentborn. Every yearOundjian’s and the TSO’s genuine commitment to the New CreationsFedtival as a significant part of their cultural mandate becomes moreclearly defined. And the event itself becomes more focused and exhilarating.With the steeply reduced ticket price at RTH, there’s noreason the Hall shouldn’t be rocking for three days with symphonicsound that invigorates the players’ and the audience’s ears.Esprit ORCHESTRAAt the other end of the month, March 29, Alex Pauk’s EspritOrchestra continues its drive to bring symphonic music to a halllarge enough to handle an orchestra with serious new music chops.“Turned On By Texture” is their fourth and final Koerner Hallconcert this season, featuring, among other works, Jamie Parker inHarry Somers’ Third Piano Concerto, and Xenakis’ Jonquaies. (Ifit wasn’t too late to organize, I’d suggest that Esprit offer half pricerush tickets to anyone who shows up with ticket stubs from any twoof the three New Creations concerts that kicked off the month!)By the way, for a really interesting insight into what keeps Paukmotivated, check out Jack Buell’s Q&A with Pauk in “We Are AllMusic’s Children” this month (page 68). What’s in the magazine isjust part of a much longer piece on the web.THE CLASSICAL CONTINUUMReturning to Eötvös’ concert with NMC March 10, it was interestingto me that he chose to programme Stravinsky as part of the mix.There’s a striking number of concerts this month where to a significantextent presenters seem to be emphasizing the classical/post-classicalcontinuum, rather than the great divide. March 11, for example,the Stuttgart Chamber Choir and Soundstreams Choir 21 are bringinga programme to the Carlu that includes Ligeti, Mahler, Bach,Penderecki and a Frehner world premiere. And on March 22, in aMusic Toronto Discovery Series concert, Véronique Mathieu, violin,and Stephanie Chua, piano, present a programme of works thatincludes, among others, works by Sokolović, Clara Schumann andHeather Schmidt. And another example: Kindred Spirits Orchestra’sMarkham New Music Festival on April 1 offers Stravinsky, Current,Bartók, Honegger, Richard Strauss and Southam.STRAIGHT UpAnd, all too briefly for those who prefer their new music straight up,check out:• March 9: Music Gallery. Emerging Artist Series: Emergents II: InaHenning, accordion and Marc-Olivier Lamontagne, guitar.• March 12: Arraymusic. Array Session #11: An Improv Concert.• March 16: Toronto New Music Projects. Stefan und Steffen: TheMusic of Wolpe and Schleiermacher.• April 3: Canadian Opera Company. Chamber Music Series:Primitive Forces.And finally a reminder: details on all these, and a whole lot morenew music, can be found in our magazine listings, or, even morereadily by searching “New” in the listings on our website.CAGe WATCh: 180 dAYS & countiNGLast issue I pointed out that although the100th anniversary of John Cage’s birth willnot be until September 5, 2012, amongpresenters of music, large and little, thecelebratory clock has already started totick. So, from now, and for the next 180days (February 29 to September 5), letThe WholeNote Cage Watch begin.(Bemused readers should take a momentto read Pam Margles review, on page69, of the reissue of Cage’s seminal bookSilence for a visceral sense of what thefuss will be about.)March 2 at Koerner Hall, Soundstreams/Royal Conservatory present “So Percussion: Cage@100,” worksby Cage and a new work by turntablist Nicole Lizée.March 22 at Gallery 345, Daniel Gaspard, piano, and EllenFurey, dancer, present “John Cage, Sonatas in Movement.”October 25 to 28 a conference,“The Future of Cage: Credo,”will be presented at the Graduate Centre for Drama, U of T.Details to follow.PeterEötvös’PicksSaturday March 10 2012Glenn Gould Studio @ 8pm250 Front Street WestNew Music Concerts EnsemblePeter Eötvös directionmusic by Eötvös • Jeney • Stravinskywww.NewMusicConcerts.comInformation416.961.9594Robert Aitken artistic directoryoko hirota • small is beautifulFriday April 27 2012Gallery 345 @ 8pm345 Sorauren Avenuemusic by CherneyMorel • RadfordLemay • CurrentMarch 1 – April 7, 19

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