7 years ago

Volume 18 Issue 6 - March 2013

  • Text
  • Toronto
  • Jazz
  • April
  • Arts
  • Theatre
  • Quartet
  • Musical
  • Ensemble
  • Symphony
  • Concerts

couldn’t be hidden

couldn’t be hidden though, and inevitably she was “discovered” bysuch people as lutenist/director Anthony Rooley. Once she had foundher own way as a singer, she, like Wallfisch, never looked back. She’sknown as an artist of high technical skill, refinement and depth, onewho conveys the meaning of the text in a powerfully poignant way.On her website is a very telling remark,prompted by a 2007 survey of “the greatestsopranos” in which she placed at number ten:“While such things are inevitably parochial,partial, controversial and outdated as soon asthey appear, (Kirkby) is pleased at the recognitionthis implies for an approach to singingthat values ensemble, clarity and stillnessalongside the more obvious factors of volumeand display.”She is joined by Swedish lutenist JakobLindberg for the Toronto Consort productionof “Orpheus in England,” a program whichpays particular homage to the 450th anniversaryof John Dowland’s birth. Performancestake place on April 5 and 6 at Trinity-St.Paul’s Centre.And there’s more. As part of their residencyat St. Michael’s College and in keeping withour theme, the Musicians In Ordinary presenttheir own tribute to “Ladies that are Most Rare”on March 19, in a program of songs to poemsby Lady Mary Sidney, Lady Mary Wroth andthe Egerton Sisters, and music from the lutebooks of Mary Burwell and Margaret Board.One of the busiest harpsichordists around,Sara-Anne Churchill is a woman on a mission to bring an awarenessof her instrument to the general public. “People don’t realize howoften they are exposed to the harpsichord and its music, and I wantto show how ubiquitous it is, and how versatile (and amusing!) theharpsichord can be,” she says. So to draw in all those not yet seducedby the charms of the harpsichord she’s devised a program of familiarpieces (such as Handel’s Harmonious Blacksmith variations), arrangements(such as Dowland’s Flow my Tears arranged by Byrd) and someunlikely surprises too, such as the theme from The Addams Family!“The Cliché Harpsichord” is a TEMC presentation that takes place onMarch 24 at St. David’s Church.Fifteenth-century French martyr and saint, Joan of Arc, has inspiredcountless works of art throughout the ages. Not the least of these isCarl Theodor Dreyer’s 1928 silent film, The Passion of Joan of Arc,depicting her trial and execution, for which Renée Jeanne Falconetti’sElixir, from left: Sara-Anne Churchill,Justin Haynes, Valerie Gordon,Elyssa Lefurgey-Smith.Violins, violas, cellos & bowsComplete line of strings & accessoriesExpert repairs & rehairsCanada’s largest stock of string musicFast mail order servicethesoundpost.cominfo@the soundpost.com93 Grenville St, Toronto M5S 1B4416.971.6990 • fax 416.597.9923A treasure trove for string players& lovers of string musicperformance is described as one of the finest in cinematic history. Ina co-presentation by the Toronto Silent Film Festival and ScaramellaConcerts, this film is screened at Innis Town Hall on April 4 to anadventurous accompaniment: a newly composed score by Los Angelescomposer Tom Peters, featuring the composer playing electric stickviolone and Joëlle Morton playing amplifiedviola da gamba.Others!!March 9: Music at Metropolitan presents“Baroque and Beyond III: Music from theFrench Baroque” including Couperin’s Leçonsdes Ténèbres and other works. Performers aresoprano Ariel Harwood-Jones, mezzo ChristinaStelmacovich, theorbist/lutenist BenjaminStein, the Elixir Baroque Ensemble and others.!!March 15: “Distres’d Innocency: TheCommunity Baroque Orchestra of TorontoMixes with Elixir” is the title of the next CBOTconcert held at Victoria College. Their guests,Elixir Baroque Ensemble, are a vibrant newgroup consisting of gambist Justin Haynes,harpsichordist Sara-Anne Churchill, violinistsElyssa Lefurgey-Smith and ValerieGordon. Together the two groups play musicby Purcell, Vivaldi, Telemann and Bach; Elixiris featured on its own in music by Castelloand Buxtehude.!!March 16 in Hamilton, March 16 and 17in Toronto: Capella Intima presents theanonymous oratorio Giuseppe, dating fromaround 1650 and discovered in the Vatican Library, for five voices andinstruments. Sopranos Lesley Bouza and Emily Klassen, alto LauraMcAlpine, tenor Bud Roach, and bass James Baldwin are joined byorgan and gamba.!!March 23: Bach’s B Minor Mass is presented at Toronto’s MetropolitanUnited Church by the Elmer Iseler Singers and the AmadeusChoir, soloists and orchestra, under the baton of Lydia Adams.!!March 30: Ever probing life’s profound issues, I FURIOSI exploresthe deep, hidden things in life with music by Dowland, Scarlatti,Handel and Buxtehude. “The Down-Low” features guest AlisonMackay playing both double bass and viol, and takes place at a newvenue, Windermere United Church.!!March 31: At U of T’s Trinity College Chapel, the Schola Cantorumand Theatre of Early Music under director Daniel Taylor present “Jesumeines lebens leben,” with works by Buxtehude, Bruhns and Kuhnau.!!April 5: Handel’s Concerti Grossi Op.6 are 12 of the finest and mostattractive examples in this genre. Aradia Ensemble and the KingswayConservatory Strings sample from these works, in a CD release concertat Glenn Gould Studio.For details of all these and others not mentioned here, please consultThe WholeNote’s daily listings.Simone Desilets is a long-time contributor to The WholeNote inseveral capacities who plays the viola da gamba.She can be contacted at MansellPresentsA Music Festival unlike any otherFeaturing Nine brilliant concerts including two Gala performancesfrom world renowned organist Jane Parker Smith as well as ChelseaChen in a duo performance with virtuoso violinist Lewis Wong.20 March 1 – April 7, 201313May 6 to June 7,

Beat by Beat | In With the NewReflectionson TimeWENDALYN BARTLEYReflecting on the nature of time and how we ultimately haveno choice but to surrender to its rhythms is an activity that eternallycaptures the human imagination. One of the great gifts ofJapanese culture to our understanding of time is found in the principleof Wabi-sabi, which finds beauty in the imperfect, impermanentand incomplete. Things in a state of transience, of coming andgoing — such as a flower coming into bloom or decaying — demonstratethis ideal. Wabi-sabi honours the process of change and those effectsthat the passage of time creates. Awareness at this level requires aquiet mind and cultivated human behaviour,which, in the Japanese worldview, can beinstilled through the appreciation and practiceof the arts.Since January of 2013, the city of Torontohas been enjoying Spotlight Japan, afour-month, city-wide, multidisciplinary celebrationof classic and contemporary Japaneseculture in theatre, dance, film, visual artsand of course, music. On March 5 at KoernerHall, Soundstreams will be presenting theircontribution to this “spotlight” in their concert“Fujii Percussion and Voices.” Since theact of listening to music offers a very refinedway of experiencing movement through time,this concert will present an opportunity to betransported into a deeper engagement withthese ideals of transience and impermanence.The concert features the virtuosic Fujii Trio from Japan performingon five-octave marimbas, vibraphone, glockenspiel and a variety ofother percussion instruments along with Canadian performers RyanScott on percussion, Gregory Oh on piano and the Toronto Children’sChorus. Because writing for percussion instruments is central to thework of many Japanese composers, this concert offers an extraordinaryopportunity to experience the subtle workings of instrumentalcolour by four of that country’s outstanding composers: TōruTakemitsu, Akira Miyoshi, Maki Ishii and Yasuo Sueyoshi. The concertwill include the Canadian premiere of Miyoshi’s Yamagara Diaryfeaturing the Toronto Children’s Chorus and a rare instrument calledthe sanukite, as well as a newly commissioned work from CanadianMichael Oesterle.The Fujii Trio, from left: Haruka Fujii,Rika Fujii and Matsuko Fujii.The sanukite is a uniquely Japanese instrument made from blackvolcanic stones that originate from the Kagawa Prefecture area. Knownlocally as kankanishi or “cling-clang rocks,” they produce a uniqueethereal tone when struck, which, in the words of Japanese drummerMasashi Tomikawa “reveal the spirit of time itself.”Oesterle’s piece Carrousel references the spiral motion of timeand is scored as a quartet for glockenspiel, vibraphone, marimba andpiano. The three percussion instruments will surround the pianoand function as a way of preparing the piano as they reflect back thepiano’s gestures, creating a type of “blurred vision.” This is similar tohow “as we pivot around the sun, all bodies acquire a natural rhythmor pulse, tuned to the return of sunshine and darkness, becoming captivesof a solar carrousel.” The other Canadian work is Claude Vivier’sPulau Dewata (Island of the Gods) for percussion ensemble of varyinginstrumentation dedicated to the people of Bali.The ending of a legacy: In spite of the virtue of embracing impermanence,it is still an unfortunate turn of events that the immenselysuccessful series run by the Canadian Music Centre — New Music inNew Places — will be coming to an end. This nation-wide series hasforever changed the landscape of how contemporary music is perceivedand received in this country, and even though it is being terminateddue to federal fundingchanges, it’sabsolutely essentialthat this innovationof placing new musiclistening experienceswithin communityvenues be taken up indifferent ways in thefuture. This monthoffers three opportunitiesin southernOntario to experiencemusic in theplaces where peoplegather — from eateries,to breweries, toretail stores.The first such event will happen March 1 at the Academy of LionsGeneral Store featuring the Music in the Barns Chamber Ensembleperforming works by Richard Reed Parry, Rose Bolton and Scott Godin.The venue is part café, part gallery and part fitness store. Post-concertevents include a performance by baroque folk duo Tasseomancy, and achance to party with DJ Adam Terejko.Not in our concert listings but of interest, Guelph and Kitchener-Waterloo residents can visit the Happy Traveller Bistro, 40 GardenSt., Guelph, 519-265-0844, on March 8 to hear performances by theKitchener-Waterloo Guelph New Music Collective. The Bistro offers awelcoming environment for local artists, musicians and communityprojects while serving up vegetarian and vegan food.And on March 21 and 22 it’s off to the recently opened Junctionwww.johnweinzweig.comJohn WeinzWeigCentenaryCelebration ConCertFriday, March 8, 20137:30 pm. Walter Hall, U of T. FreeFeaturing Robert Aitken, flute,Bianca Chambul, bassoon, SeroujKradjian, piano, Shannon Mercer,soprano, Judy Loman, harp, JamesVanDemark, double bass, WeinzweigCentenary Chamber Strings withVictor Feldbrill, conductor, Universityof Guelph Chamber Choir; curatedby Soundstreams Artistic Director,Lawrence CherneyJohn WeinzWeig,his ConteMporariesand his inFluenCesaturday, March 9, 201310 am - 5 pm. Room 330, EdwardJohnson Building, 80 Queen’s Park. FreeAn academic symposium hosted by theInstitute for Canadian Music at Universityof Toronto. Presenters include JohnBeckwith, Diana Dumlavwalla, RobinElliott, David Jaeger, Elaine Keillor,Walter Kreyszig, Brian McDonagh andAlexa Woloshyn.CeCilia string QuartetperForM the ChaMberMusiC oF John WeinzWeigMonday, March 11, 201312:00 pm. Walter Hall, Edward JohnsonBuilding, 80 Queen’s Park. FreeMembers of the Cecilia String Quartet,Ensemble-in-Residence, performWeinzweig’s String Quartet No. 3,Cello Sonata and Violin Sonata.March 1 – April 7, 2013 21

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