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Volume 19 Issue 4 - December 2013

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and I’m a little less

and I’m a little less into that sort of thing now. I’ve found joy insimpler repertoire.“And there’s a lot of the standard repertoire that I still haven’t done.For next year, I’ve programmed Schubert’s Sonata in A Major D.959and his Impromptus — and I’ll be playing the Impromptus for the firsttime. But I’ll also revisit Nikolai Medtner’s Night Wind Sonata, which Ithink is an unsung masterpiece. It would benefit any young composerto study it very closely.”Hamelin’s international career has maintained its lofty status. He’scurrently artist-in-residence at London’s prestigious Wigmore Hall(where he made a memorable live recording slmost 20 years ago). Herecently gave the first of five recitals there; the program’s first half wasidentical to the one he will be performing in Toronto January 21 andrepeating in Lindsay the next evening. London blogger Frances Wilsonsummed it up: “The program traced a darkly lit narrative from thebrooding opening bars of Hamelin’s atmospheric Barcarolle, throughthe sprawling musical landscapes of Medtner’s Night Wind pianosonata.” Here, he’ll be playing the last four Schubert Impromptus afterintermission.Hamelin is a pianist whose mastery of the mechanical aspectsof music making has always been in support of his artistic vision, ameans of fulfilling the music’s emotional content. Mark the date.LaPlante and Lortie: LaPlante’s recital at the Narvesons’ Kitchener-Waterloo Chamber Music Series, in Waterloo January 18, harks backto that autumn week in 2007. Included in a program of the kind ofvirtuosic romantic music for which the pianist is known — Chopin,Liszt and a Busoni arrangement of the Bach Toccata, Adagio andFugue in C — is the Mozart Sonata in E-flat K282 he played six yearsago. Coincidentally he’s also performing the Jacques Hétu VariationsHamelin played during that same anniversary celebration.Lortie will be leading the TSO from the keyboard in a performanceJanuary 22 and 23 of Mozart’s Piano Concerto No.22, K482 with itshaunting middle “Andante” and elegant cantabile slow menuet thathijacks its “Allegro” third movement. “The important thing about asoloist being able to conduct,” Lortie says on his website, “is that he isa master of time in all senses.” He believes that it’s the time involvedin rehearsal (“which ideally is as much time as needed”) that is essential.Since he believes that the Mozart concertos are true chambermusic and that every player brings his own input to the playing ofthem, “you must have time to discuss phrasings with people.” Peoplewho play a Mozart trio or quartet will take hours to discuss theirapproach; he wants to bring those same values to the concertos.Bezuidenhout: On the subject of Mozart, fortepiano specialistKristian Bezuidenhout conducts the Tafelmusik Baroque Orchestrafrom the keyboard December 5 to 8 in Mozart’s Concertos Nos. 9 &11, K271 and K413. Like Hamelin’s, Bezuidenhout’s boyhood homehad a massive record collection and by the age of 9 or 10 he wasintimately familiar with Mozart’s music. He discovered his fascinationwith historic keyboards as student at the Eastman School ofMusic. “The scale of the piano went just far enough that one couldrecapture the sense of sturm and drang and tempestuousness that ispresent in Mozart’s music,” he observes in a video available on theTafelmusik website.Finally, a third pianist-conductor, Ignat Solzhenitsyn (son of theiconic Soviet writer and dissident), will, like Lortie, bring his talentsto Roy Thomson Hall as part of the TSO “Mozart @258 Festival.” OnJanuary 11 he will perform the Concerto No.18, K456 with its secondmovement “Andante” exhibiting a pathos rare for the composer.QUICK PICKS!!Two in Waterloo: Highly touted American pianist Andrew VonOeyen’s December 2 concert ranges from Bach’s Partita No.1 toRavel’s La Valse; the gifted French pianist Jean-Philippe Collard’seye-opening program January 15 consists of Debussy’s Preludes,Book I and Mussorgsky’s Pictures at an Exhibition. Both at thePerimeter Institute.!!Koerner Hall Debut: Russian-born pianist Kirill Gerstein whodivides his time between America and Germany is that rare classicalpianist with a jazz degree from the Berklee College of Music. HisDecember 8 program includes two Ligeti Etudes, two Virtuoso Etudesby Earl Wild from songs by Gershwin and Pictures at an Exhibition.!!COC Piano Virtuoso Series: RCM Rebanks Fellowship-winnerStefan Chaplikov takes on Beethoven’s massive masterpiece,the Hammerklavier Sonata December 10; fellow RCM RebanksFellowship-winner (and one of the few Arabs performing Westernclassical music), Algerian-born Mehdi Ghazi looks to reveal thepassion in works by Rachmaninov, de Falla, Prokofiev and MessiaenJanuary 7; young American Christopher Goodpasture plays Fantasiesby Schumann and Hétu and Etudes by Chopin and DebussyJanuary 16. All concerts are free and at noon in the Richard BradshawAuditorium.)Paul Ennis is The WholeNote’s managing editor.20 | December 1, 2013 – February 7, 2014 thewholenote.com

Beat by Beat | In the ClubsPlenty to Sing AboutAcclaimed actress andsinger Jenni Burke is happyto be leading “SaturdaySwing-Along” brunches at JazzBistro, taking place December 7,14, and 21 at 12:30pm. Burke’scharming voice and warm stagepresence, along with special guestsand sing-alongs will offer folksfrom one to ninety-two a chance toget into the spirit of the season.“I love this time of the year whenI remember to take a moment toremember what it’s all about,”says Burke. “For all the materialhoopla associated with the holidayseason, its meaning doesn’t lie inthe perfect gift, the obligations, therunning around, all the glitter and bows, but in the birth of somethinglovely and new inside our hearts ... we are reminded at this timeof year that we can be more than we are.That we can and should be the force oflove in this world. A time to count ourblessings and be grateful and experiencethe joy of giving.” Jazz Bistro will beaccepting food donations at the door insupport of Daily Bread Food Bank andCBC’s Sounds of the Season; those whoDenielle Bassels.Diana Panton.ORI DAGANJenni Burke.bring a non-perishable donation will beadmitted free of charge.Anyone looking for a bargain onNew Year’s Eve should hurry up andmake reservations at Gate 403. Cover isonly for the evening, with entertainmentprovided by the Denielle BasselsJazz Band. A recent graduate of HumberCollege, Bassels is a brilliant talentwith more than just a gorgeous voice.Reminiscent of the late Amy Winehouse,the singer-songwriter’s music is allat once classic, contemporary andappealing. Gate 403 is an unpretentious venue, and one of the onlyclubs in Toronto that features live jazz and blues seven days a week.It’s certainly deserving of your continued support, and there is hardlyever a cover charge. That being said, most of the money the musicianstake home for their hard work comes from the Pay-What-You-Canjar, so be sure to contribute, especially if you enjoy their performance.Generous tips make for excellent karma!A few months back I had the honour of playing a gig with Canadianjazz legend Don Thompson. Afterwards we chatted about some ofour favourite singers. He asked me whether or not I had heard DianaPanton, a vocalist he has been working with for years, with whom herecently toured Asia.“Oh, they just love her over there ... people revere her singing overthere,” he said. “They come to meet her after the show and they arein tears. She is so honest and beautiful and they really get it.” Askedwhether she would be playing here anytime soon, he said no, Ibetter just listen to her records, and so I checked out some of herwork. Panton’s sensuous voice and her pared-down approach translatebeautifully on recording, often sounding like she is whisperingin your ear. Thankfully, some gigs have been booked since then, andwe can all see and hear the Diana Panton Trio live on a few occasionsin the near future. With the exquisite backing of Don Thompsonthewholenote.com December 1, 2013 – February 7, 2014 | 21

Volume 26 (2020- )

Volume 26 Issue 1 - September 2020
Volume 26 Issue 2 - October 2020

Volumes 21-25 (2015-2020)

Volume 25 Issue 9 - July / August 2020
Volume 25 Issue 8 - May / June 2020
Volume 25 Issue 7 - April 2020
Volume 25 Issue 6 - March 2020
Volume 25 Issue 5 - February 2020
Volume 25 Issue 4 - December 2019 / January 2020
Volume 25 Issue 3 - November 2019
Volume 25 Issue 2 - October 2019
Volume 25 Issue 1 - September 2019
Volume 24 Issue 8 - May 2019
Volume 24 Issue 7 - April 2019
Volume 24 Issue 6 - March 2019
Volume 24 Issue 5 - February 2019
Volume 24 Issue 4 - December 2018 / January 2019
Volume 24 Issue 3 - November 2018
Volume 24 Issue 2 - October 2018
Volume 24 Issue 1 - September 2018
Volume 23 Issue 9 - June / July / August 2018
Volume 23 Issue 8 - May 2018
Volume 23 Issue 7 - April 2018
Volume 23 Issue 6 - March 2018
Volume 23 Issue 4 - December 2017 / January 2018
Volume 23 Issue 3 - November 2017
Volume 23 Issue 2 - October 2017
Volume 23 Issue 1 - September 2017
Volume 22 Issue 9 - Summer 2017
Volume 22 Issue 8 - May 2017
Volume 22 Issue 7 - April 2017
Volume 22 Issue 6 - March 2017
Volume 22 Issue 5 - February 2017
Volume 22 Issue 4 - December 2016/January 2017
Volume 22 Issue 2 - October 2016
Volume 22 Issue 1 - September 2016
Volume 21 Issue 9 - Summer 2016
Volume 21 Issue 8 - May 2016
Volume 21 Issue 6 - March 2016
Volume 21 Issue 5 - February 2016
Volume 21 Issue 4 - December 2015/January 2016
Volume 21 Issue 3 - November 2015
Volume 21 Issue 2 - October 2015
Volume 21 Issue 1 - September 2015

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