7 years ago

Volume 17 Issue 6 - March 2012

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FOR OPENERS / DAVID PERLMANThe MAPL Leaf Forever!PIERRE JUNEAU (OCTOBER 17, 1922 – FEBRUARY 21, 2012)must have known at some point in time that the JUNOs, whose annualI mini-frenzy is currently upon us, were named for Pierre Juneau, buthow easily we forget. How strangely fitting too, that news of his passingshould have come right in the week we were tallying up, as we do everyyear, how many of this year’s JUNO nominees in the classical and jazzcategories we had already reviewed in The WholeNote’s Discoveriespages before the nominees were announced.(See David Olds’ “CD Editor’s Corner” on page 70 forthe details. Suffice it to say, here, that it’s a record, yearin and out, of which we are rather proud.)But now, suddenly, there are achievements of far greatermagnitude to talk about. It’s just a bit difficult to figure outhow much to say. For those of you who remember whatJuneau achieved as the first chairman of the CRTC inthe late 60s and early 70s, by helping ink the regulationsrequiring all Canadian radio stations to air 30% Canadiancontent, even this is too much explanation.For those who either do not know, or remember, it’s hard to knowwhere to begin.MAPL is probably as good a place as any to start. It’s a little logoyou will find on the corner of every single CD nominated for a JUNOin this or any other year, and something that every radio disc jockeyknows how to spot instantly, and read, when shuffling into piles theCDs that qualify as Canadian content, and the ones that don’t.The M is for Music; the A for Artist; the P for Performance; and the Lfor Lyrics. Under Juneau’s CRTC watch, to qualify as Canadian contenta recording had to be “Canadian” in at least two of the four categories.It was clunky, it was abused, it left holes big enough to drive multinationaltrucks through. It drew as much abuse as any affirmative actionprogramme does. And it worked. It created a climatewhere quantity was needed, and gradually, out of that, asit always does, quality emerged.The interesting thing is that it worked, and works, notjust for the rock and pop artists, the singer-songwriters.It works, too, for the Canadian performer of Mozart, recordedby a Canadian engineer.MAPL leaf forever, is what I say. But the irony is thatit’s often the performing elite, the ones who rose from thequantitative slime to shine to the point where they don’tneed the protection, who are the weakest defenders of the regulationsthat gave them the chance to excel.In that regard it’s rather like the musicians who have turned theirbacks on the battle to keep music alive in core school curricula, becausethey “never learned anything in school music programmes anyway.”Hmm. I wonder what Pierre Juneau would have made of that?—David Perlman, publisher@thewholenote.comThe WholeNote The Toronto Concert-Goer’s GuideVolume 17 No 6 | MAR 1 – aPr 7, 2012720 Bathurst St., Suite 503,Toronto ON M5S 2R4Main Telephone 416-323-2232Fax 416-603-4791SwiTChboard & GenerAL Inquiries Ext 21Chairman of the Board | Allan Pulkerdirectors@thewholenote.comPublisher/Editor In Chief | David Perlmanpublisher@thewholenote.comCD Editor | David Oldsdiscoveries@thewholenote.comEvent Advertising/MembershipKaren Ages | members@thewholenote.comAdvertising/Production Support/OperationsJack Buell | adart@thewholenote.comListings DepartmentSharna Searle | Listings Editorlistings@thewholenote.comOri Dagan | Jazz Listings Editorjazz@thewholenote.comWebsiteBryson Winchester | systems@thewholenote.comCirculation, Display Stands & SubscriptionsChris Malcolm | circulation@hewholenote.comPatrick Slimmon | patrick@thewholenote.comOMDC and The OnTArio ArTS COUncilare agencies of the Government of OnTArioThanks to this month’s contriBUTOrsCover PhotoBruce ZingerBeat ColumnsART OF SOng | David PerlmanBandSTAnd | Jack MacQuarriebooksheLF | Pamela MarglesclassiCAL & beyond | Sharna SearleChorAL scene | Benjamin SteindiSCOveries | David OldsEarly MUSic | Simone Desiletsin the clubs | Ori Daganin with the new | David PerlmanJazz nOTes | Jim GallowayMUSiCAL life | mJ buellmusic theATre | Robert WallaceOpera | Christopher HoileWorld MUSic | Andrew TimarFeaturesPaula Citron, Allan WeinmannCD ReviewersDaniel Foley, Janos Gardonyi, Alison Melville,Christina Petrowska Quilico, Allan Pulker,Cathy Riches, Terry Robbins, Bruce Surtees,Andrew Timar, Robert Tomas, Ken Waxman,Dianne WellsProofreadingOri Dagan, Sharna Searle, Emina GamulinListingsOri Dagan, Sharna SearleLayout & DesignBrian Cartwright (cover), Uno RamatSUBSCriPTions per year + HST (10 issues)Upcoming Dates & DeadlinesFree Event Listings Deadline6pm Thursday March 15Display Ad Reservations Deadline6pm Thursday March 15Advertising Materials Due6pm Saturday March 17Publication DateThursday March 29Next issue, Volume 17 No 7covers April 1 to May 7, 2012WholeNote Media Inc. accepts no responsibility orliability for claims made for any product or servicereported on or advertised in this issue.Printed in CanadaCouto Printing & Publishing ServicesCirculation StatementMarch 2012: 30,000 printed & distributed.Canadian Publication Product Sales Agreement1263846ISSN 14888-8785 WHOLenOTEPublications Mail Agreement #40026682Return undeliverable Canadian addresses to:WholeNote Media Inc.503-720 Bathurst StreetToronto ON M5S 2R4COPyright © 2012 WhOLenOTe Media Incwww.thewholenote.com6 March 1 – April 7, 2012

~E TO|oNTOCºNSO|tpresentsT‰ O|iGINALCARMINA BU|aNAApril 27 & 28 at 8 pmApril 29 at 3:30 pmThe original Carmina Burana is one of the mostbeautiful collections of medieval song, datingfrom the 13th and 14th centuries. Songs of love,songs of springtime, drinking songs, spiritualsongs and lively dance tunes all grace thisanthology. The Toronto Consort brings alivethese glimpses of an earlier era, with voices,fiddle, recorder, lute and harp.For Tickets call 416-964-6337 or order onlinetorontoconsort.orgTrinity-St. Paul’s Centre, 427 Bloor St. WestMarch 1 – April 7, 7

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