subtlest nuances. Most pianists end up with a demonstration of how loudly they can erect the Great Gate of Kiev, now judged to be a measure of a great performance. Lewis employs extraordinary control in restraining his performance to achieve maximum effect without limiting its power, thereby rather strengthening it. A stroke of genius on someone’s part was to follow the extroverted Mussorgsky with the substantial, inward-looking Schumann Fantasie. Many of the greats have recorded this work but Lewis stands behind none of them. The sound is exemplary. Bruce Surtees Concert note: Paul Lewis performs with violinist Lisa Batiashvili at Koerner Hall on March 27. The program includes Busoni’s solo piano arrangement of Bach’s Chorale Prelude “Nun komm’ der Heiden Heiland,” BWV 659. Daphnis et Chloé National Youth Orchestra of Canada; Emmanuel Villaume Independent NYOC2014CD (nyoc.org) The great bandleader and clarinetist Benny Goodman once reflected: “Too many young musicians today want to win polls before they learn their instruments.” Quite clearly, this sentiment doesn’t apply to the gifted young musicians in Canada’s National Youth Orchestra. For more than 50 years now, the NYOC has been a bridge between academic studies and a professional career, providing experience and high-quality training for young performers. These high standards continue to be evident in their tenth and latest CD, an attractively packaged twodisc set featuring music by Ravel, Wagner, Richard Strauss, Neal Gripp and Jordan Pal under the direction of Emmanuel Villaume. Despite a lukewarm reception at its premiere in 1912, Ravel’s ballet Daphnis et Chloé has long been regarded as his masterpiece. Typically Gallic, the score is sophisticated and sensuous, and the NYOC does it full Canada’s Quatuor Alcan has been at the forefront of the string quartet world for many years now, and the ensemble is currently celebrating its 25th anniversary. The group’s sizeable discography includes quartets by Haydn, Mozart and Schubert, but so far, perhaps surprisingly, only two of Beethoven’s 16 string quartets. That’s about to change, however, as their 25th anniversary is being marked by the release of a CD series of the complete Beethoven Cycle. Volume 1 (ATMA ACD2 2491) was released in November and is a 2-CD issue containing the six quartets of Op.18. Although the ensemble’s website refers to the Beethoven project as a “new recording,” these six quartets here were actually recorded between May 2007 and November 2010. It’s certainly an auspicious start to the series. There’s marvellous playing, tremendous accuracy and attention to detail here, made even more effective by the way this ensemble seems to think, breathe and play in complete unison. The Alcan is up against serious competition in this field of course, with complete cycles still available from most of the leading ensembles of the last 60 years – the Guarneri, Amadeus, Orford, Alban Berg, Budapest, Borodin, Emerson, Tokyo, Artemis and Quartetto Italiano for starters. The good news, though, is that comparisons are not only almost impossible but also completely irrelevant; this promises to be a terrific set, and that’s all that matters. Volumes 2 and 3 are scheduled for release in February and April of this year. Stay tuned. Robert Schumann, more than any other composer I can think of, tended to concentrate on one particular genre of composition at a time. 1842 was his chamber music year and his three String Quartets Op.41 were written in a matter of eight weeks in June and July, after he had spent several months preparing by studying the quartets of Haydn, TERRY ROBBINS Mozart and – in particular – Beethoven, whose late quartets had so impressed him a few years earlier. The influence of the latter is easy to hear, but the voice that really leaps out at you is that of Mendelssohn, to whom the quartets were dedicated on their publication in 1848. On Schumann, their latest CD (Sono Luminus DSL-92184), the Ying Quartet gives passionate and committed performances of these wonderful works. Schumann’s non-keyboard compositions are often viewed as being somewhat pianistic, but if any of his works belie this view it’s these string quartets: they are beautifully written – idiomatic, strong and imaginative, sensitive and nuanced, with wide-ranging emotions and an abundance of rhythmic vitality. All of these qualities are fully exploited by the Ying Quartet; this is full-blooded Romantic playing recorded with a rich resonance. The CD package comes with an additional Pure Audio Blu-ray CD equipped with the mShuttle application, enabling you to access portable copies of the music featured on the regular CD. The third and final volume of the outstanding series of the Complete String Quartets by the Danish composer Rued Langgaard (1893-1952) is now available (DACAPO 6.220577). Volume 1 was reviewed in depth in this column in July 2012 and Volume 2 in April 2014, at which times I noted that Denmark’s Nightingale String Quartet was simply superb in this series of all nine quartets by a composer described as an eccentric outsider who was virtually ignored by the Danish musical establishment in his lifetime. Most of Langgaard’s string quartets were written in his youth, between 1914 and 1925, although his later revision and recycling of earlier material makes for a confusing numbering system which doesn’t include all of the quartets and doesn’t even reflect the order of their composition. As the excellent booklet notes point out, the works date from the departure point between Late Romanticism and Modernism and cover a remarkably wide stylistic spectrum, with tonal idioms ranging from Mozart to Bartók. This third volume features the String Quartet No.1 from 1914-15 (revised in 1936), the String Quartet No.5 from 1925 (revised 1926-38) and the very brief string quartet movement Italian Scherzo from late 1950, Langgaard’s last contribution to the genre. This track and the String Quartet No.1 are world premiere recordings. Once again, the performances by the prize-winning allfemale Nightingale Quartet are outstanding – warm, passionate, expressive and displaying great ensemble playing. Beautifully recorded at the Royal Danish Academy of Music and issued on Denmark’s national record label, these performances are as close to definitive as you can get; the complete set is an outstanding addition to the 20th century string quartet discography. Strings Attached continues at thewholenote.com with a new recording of Brahms sonatas by French violinist Arnaud Sussmann and the American pianist Orion Weiss, plus the intriguing Bach to Parker featuring young English violinist Thomas Gould. 60 | February 1 - March 7, 2015 thewholenote.com
justice. The ensemble achieves a sonorous, full-bodied sound with a wonderful melding of strings, woodwind and brass. While the tempos are perhaps a little more languorous at times than customary, this doesn’t necessarily detract from a fine performance. The second disc brings us to 19th-century Germany and 21st-century North America. Wagner’s Prelude to the first act of Lohengrin is quietly introspective, the warmth of the NYOC strings evoking the magical mood of the fairy tale opera to come. In total contrast, the popular 1895 tone poem Til Eulenspiegel by Richard Strauss is all exuberance and jollity, where the puckish charm of the hero is fittingly characterized by a virtuosic brass section. The remaining two compositions are recent creations. Violist Neal Gripp’s Passacaglia was intended as a dialogue between flutist Carolyn Christie and her musical colleagues in the Montreal Symphony Orchestra. Archly neoromantic, the music has an elegantly elegiac mood, contrasting with the bombastic The Afar by NYOC composer-in-residence Jordan Pal. A musical depiction of the Afar triangle in Ethiopia, the score is exciting and colourful, requiring the youthful ensemble to pull out all the stops. It does so admirably, bringing the disc – and the set – to a most satisfying conclusion. Richard Haskell Fauré; Pierné – Trios avec piano Trio Wanderer Harmonia Mundi HMC 902192 Here are two piano trios that belong in anyone’s stringsand-piano chamber music collection! One surprise: I have always found the technically challenging finale of the Fauré Trio, Op.120 problematic on account of its quirky, off-balance character. But Trio Wanderer turns this into a positive quality by emphasizing it rather than smoothing it over, with spiky accents and precise articulation that never interfere with overall fluency. In the wonderful Andantino they capture both the sentiment of the opening melody and the probing character of motivic development and harmonic exploration that follows. Both in this and the opening movement, I found myself moving from admiration of the elegance and clarity of playing to appreciation of subtle effects of light and shade, the nuances that make Fauré’s music such a delight when well-performed. The Trio, Op.45 by Gabriel Pierné (1863- 1937) is the strongest work I have heard by this composer. The extended opening movement seems to receive its energy from an enigmatic, syncopated figure in the piano, which grows and changes in myriad ways. Pierné’s palette is darker than Fauré’s, with thicker sonorities and dynamics ranging from fortissimo climaxes to whispering string harmonics. Trio Wanderer is adept in this dramatic style, and equally so in the dance style of the bouncy middle movement, influenced by the Basque zortzico. A highly inventive theme and variations featuring amazing fingered harmonics on the violin rounds off the work. Roger Knox Turina – Chamber Music for Strings and Piano Lincoln Trio Cedille CDR 90000 150 Bullfighting, Andalusian rhythms, Spanish flavoured motifs and French aesthetics – this is the world of Joaquín Turina (1882-1949), a relatively unknown Spanish composer and pianist. This double CD presents the chamber works written over the 30-year period of his most prolific time as a composer. Compositions include several piano trios, a piano quartet and a piano quintet as well as a sextet written for solo viola, piano and string quartet. Turina, born in Seville, spent most of his life in Spain, with the exception of the period between 1905-1914, when he studied piano and composition at Schola Cantorum in Paris. French influence on his music is apparent – as a matter of fact, Turina adopted and used César Franck’s principle of cyclic composition in most of his works. Late Romantic elements are also present in his lush melodies and cinematic atmosphere, especially in slow movements. But what makes his music alive is virtuosic piano writing coupled with rhythmical sounds of his native land, Andalusia. Among many interesting works presented here, Circulo, Op.91 stands out for me. It depicts the day as a circle – not with youthful vigour but rather with the restraint of a life lived – and brings out the essence of Turina’s musical aesthetics. Members of the Lincoln trio – Desirée Ruhstrat (violin), David Cunliffe (cello) and Marta Aznavoorian (piano) – not only play with passion but also highlight beautifully the sublime sounds of muted strings (Turina loved using this effect) and effortlessly convey the fugal aspects present in many of these compositions. The ensemble sound blossoms in larger works, with each guest artist (violists Ayane Kozasa and Doyle Armbrust, violinists Jasmine Lin and Aurelien Fort Pederzoli) adding a bit of individual sound to Turina’s music. Ivana Popovic MODERN AND CONTEMPORARY Nicole Lizée – Bookburners Various Artists Centrediscs CMCCD 20514 (CD+DVD) In 2013, Canada’s government committed what scientists now call libricide, closing seven Department of Fisheries and Oceans libraries. Ostensibly, it was to save by digitizing materials, but that hasn’t happened. Little attempt was made to preserve the materials and precious collections were lost to landfill. It was 21st-century book burning, but without the symbolic theatre. Milton wrote that anyone who kills a man kills “a reasonable creature, God’s image; but he who destroys a good book kills reason itself.” The striking cover image (by Todd Stewart) of Nicole Lizée’s Bookburners CD/ DVD may assert a similar interpretation. Depicting a skeleton holding a smouldering book, the figure may have sought to burn it, but instead self-immolated, consigning her/ himself to eternal damnation, rather than squelching the ideas on the pages. Conversely, a dug-up, laughing skeleton having a good read fits in with the rough-hewn and somewhat nostalgic approach to technology and media that permeates the aesthetic of the five works in this collection. The music and images tease us into dissecting the materials, reference points and tools; a rich exercise with antennae outside European contemporary music and into pop cultural icons that are the shared knowledge of Lizée’s generation. Prog-rock chord progressions, American minimalist repetitions, post-digital glitch techniques, DJ sound gear and uncommon instrumentations are all there, crashing into one another, but listening exclusively that way becomes so fragmented that it prevents the pleasures of listening to the global textures. When identification of materials becomes second to hearing their blended interaction, the music opens up a bright tableau of complex rhythms and timbres, despite the darker undertones of the titles and subject matter. On the CD, White Label Experiment, for percussion quartet and electronics, is a joyously warped mashup of John Cage and rave culture, with the turntable as the common denominator. Typewriters peck away, combined with stylus/needle drops, noise timbres and omnichord, while metallic percussion takes you higher, in register and experience. Ouijist continues the attraction to sound hacking and an expansive, low-tech electronic palette built on the bent and the broken. On Son of the Man with the Golden Arms, drummer Ben Reimer’s playing stands out with a crisp tone and light touch, thewholenote.com February 1 - March 7, 2015 | 61
After some doubt that we would be allowed to go to press, in respect to wide-ranging Ontario business closures relating to COVID-19, The WholeNote magazine for April 2020 is now on press, and print distribution – modified to respect community-wide closures and the need for appropriate distancing – starts Monday March 30. Meanwhile the full magazine is right here, digitally, so if you value us PLEASE SHARE THIS LINK AS WIDELY AS YOU CAN. It's the safest way for us to reach the widest possible audience at this time!
FEATURED: Music & Health writer Vivien Fellegi explores music, blindness & the plasticity of perception; David Jaeger digs into Gustavo Gimeno's plans for new music in his upcoming first season as music director at TSO; pianist James Rhodes, here for an early March recital, speaks his mind in a Q&A with Paul Ennis; and Lydia Perovic talks music and more with rising Turkish-Canadian mezzo Beste Kalender. Also, among our columns, Peggy Baker Dance Projects headlines Wende Bartley's In with the New; Steve Wallace's Jazz Notes rushes in definitionally where many fear to tread; ... and more.
Visions of 2020! Sampling from back to front for a change: in Rearview Mirror, Robert Harris on the Beethoven he loves (and loves to hate!); Errol Gay, a most musical life remembered; Luna Pearl Woolf in focus in recordings editor David Olds' "Editor's Corner" and in Jenny Parr's preview of "Jacqueline"; Speranza Scappucci explains how not to reinvent Rossini; The Indigo Project, where "each piece of cloth tells a story"; and, leading it all off, Jully Black makes a giant leap in "Caroline, or Change." And as always, much more. Now online in flip-through format here and on stands starting Thurs Jan 30.
Welcome to our December/January issue as we turn the annual calendar page, halfway through our season for the 25th time, juggling as always, secular stuff, the spirit of the season, new year resolve and winter journeys! Why is Mozart's Handel's Messiah's trumpet a trombone? Why when Laurie Anderson offers to fly you to the moon you should take her up on the invitation. Why messing with Winterreisse can (sometimes) be a very good thing! And a bumper crop of record reviews for your reading (and sometimes listening) pleasure. Available in flipthrough here right now, and on stands commencing Thursday Nov 28. See you on the other side!
On the slim chance you might not have already heard the news, Estonian Canadian composing giant Udo Kasemets was born the same year that Leo Thermin invented the theremin --1919. Which means this is the centenary year for both of them, and both are being celebrated in style, as Andrew Timar and MJ Buell respectively explain. And that's just a taste of a bustling November, with enough coverage of music of both the delectably substantial and delightfully silly on hand to satisfy one and all.
Long promised, Vivian Fellegi takes a look at Relaxed Performance practice and how it is bringing concert-going barriers down across the spectrum; Andrew Timar looks at curatorial changes afoot at the Music Gallery; David Jaeger investigates the trumpets of October; the 30th anniversary of the Velvet Revolution (and the 20th Anniversary of our October Blue Pages Presenter profiles) in our Editor's Opener; the Toronto Mendelssohn Choir at 125; Tapestry at 40 and Against the Grain at 10; ringing in the changing season across our features and columns; all this and more, now available in Flip Through format here, and on the stands commencing this coming Friday September 27, 2019. Enjoy.
Vol 1 of our 25th season is now here! And speaking of 25, that's how many films in the upcoming Toronto International Film Festival editor Paul Ennis, in our Eighth Annual TIFF TIPS, has chosen to highlight for their particular musical interest.
Also inside: Rob Harris looks through the Rear View Mirror at past and present prognostications about the imminent death of classical music; Mysterious Barricades and Systemic Barriers are Lydia Perović's preoccupations in Art of Song; Andrew Timar reflects on the evolving priorities of the Polaris Prize; and elsewhere, it's chocks away as yet another season creaks or roars (depending on the beat) into motion. Welcome back.
What a range of stuff! A profile of Liz Upchurch, the COC ensemble studio's vocal mentor extraordinaire; a backgrounder on win-win faith/arts centre partnerships and ways of exploring the possibilities; an interview with St. Petersburg-based Eifman Ballet's Boris Eifman; Ana Sokolovic's violin concert Evta finally coming to town; a Love Letter to YouTube, and much more. Plus our 17th annual Canary Pages Choral directory if all you want to do is sing! sing! sing!
Arraymusic, the Music Gallery and Native Women in the Arts join for a mini-festival celebrating the work of composer, performer and installation artist Raven Chacon; Music and Health looks at the role of Healing Arts Ontario in supporting concerts in care facilities; Kingston-based composer Marjan Mozetich's life and work are celebrated in film; "Forest Bathing" recontextualizes Schumann, Shostakovich and Hindemith; in Judy Loman's hands, the harp can sing; Mahler's Resurrection bursts the bounds of symphonic form; Ed Bickert, guitar master remembered. All this and more in our April issue, now online in flip-through here, and on stands commencing Friday March 29.
Something Old, Something New! The Ide(a)s of March are Upon Us! Rob Harris's Rear View Mirror looks forward to a tonal revival; Tafelmusik expands their chronological envelope in two directions, Esprit makes wave after wave; Pax Christi's new oratorio by Barbara Croall catches the attention of our choral and new music columnists; and summer music education is our special focus, right when warm days are once again possible to imagine. All this and more in our March 2019 edition, available in flipthrough here, and on the stands starting Thursday Feb 28.
In this issue: A prize that brings lustre to its laureates (and a laureate who brings lustre to the prize); Edwin Huizinga on the journey of Opera Atelier's "The Angel Speaks" from Versailles to the ROM; Danny Driver on playing piano in the moment; Remembering Neil Crory (a different kind of genius)' Year of the Boar, Indigeneity and Opera; all this and more in Volume 24 #5. Online in flip through, HERE and on the stands commencing Thursday Jan 31.
When is a trumpet like a motorcycle in a dressage event? How many Brunhilde's does it take to change an Elektra? Just two of the many questions you've been dying to ask, to which you will find answers in a 24th annual combined December/January issue – in which our 11 beat columnists sift through what's on offer in the upcoming holiday month, and what they're already circling in their calendars for 2019. Oh, and features too: a klezmer violinist breathing new life into a very old film; two New Music festivals in January, 200 metres apart; a Music & Health story on the restorative powers of a grassroots exercise in collective music-making; even a good reason to go to Winnipeg in the dead of winter. All this and more in Vol 24 No 4, now available in flipthrough format here.
Reluctant arranger! National Ballet Orchestra percussionist Kris Maddigan on creating the JUNO and BAFTA award-winning smash hit Cuphead video game soundtrack; Evergreen by name and by nature, quintessentially Canadian gamelan (Andrew Timar explains); violinist Angèle Dubeau on 20 years and 60 million streams; two children’s choirs where this month remembrance and living history must intersect. And much more, online in our kiosk now, and on the street commencing Thursday November 1.
Presenters, start your engines! With TIFF and "back-to-work" out of the way, the regular concert season rumbles to life, and, if our Editor's Opener can be trusted, "Seeking Synergies" seems to be the name of the game. Denise Williams' constantly evolving "Walk Together Children" touching down at the Toronto Centre for the Arts; the second annual Festival of Arabic Music and Arts expanding its range; a lesson in Jazz Survival with Steve Wallace; the 150 presenter and performer profiles in our 19th annual Blue Pages directory... this is an issue that is definitely more than the sum of its parts.
In this issue: The WholeNote's 7th Annual TIFF TIPS guide to festival films with musical clout; soprano Erin Wall in conversation with Art of Song columnist Lydia Perovic, about more than the art of song; a summer's worth of recordings reviewed; Toronto Chamber Choir at 50 (is a few close friends all it takes?); and much more, as the 2018/19 season gets under way.
PLANTING NOT PAVING! In this JUNE / JULY /AUGUST combined issue: Farewell interviews with TSO's Peter Oundjian and Stratford Summer Music's John Miller, along with "going places" chats with Luminato's Josephine Ridge, TD Jazz's Josh Grossman and Charm of Finches' Terry Lim. ) Plus a summer's worth of fruitful festival inquiry, in the city and on the road, in a feast of stories and our annual GREEN PAGES summer Directory.
In this issue: our sixteenth annual Choral Canary Pages; coverage of 21C, Estonian Music Week and the 3rd Toronto Bach Festival (three festivals that aren’t waiting for summer!); and features galore: “Final Finales” for Larry Beckwith’s Toronto Masque Theatre and for David Fallis as artistic director of Toronto Consort; four conductors on the challenges of choral conducting; operatic Hockey Noir; violinist Stephen Sitarski’s perspective on addressing depression; remembering bandleader, composer and saxophonist Paul Cram. These and other stories, in our May 2018 edition of the magazine.
In this issue: we talk with jazz pianist Thompson Egbo-Egbo about growing up in Toronto, building a musical career, and being adaptive to change; pianist Eve Egoyan prepares for her upcoming Luminato project and for the next stage in her long-term collaborative relationship with Spanish-German composer Maria de Alvear; jazz violinist Aline Homzy, halfway through preparing for a concert featuring standout women bandleaders, talks about social equity in the world of improvised music; and the local choral community celebrates the life and work of choral conductor Elmer Iseler, 20 years after his passing.
In this issue: Canadian Stage, Tapestry Opera and Vancouver Opera collaborate to take Gogol’s short story The Overcoat to the operatic stage; Montreal-based Sam Shalabi brings his ensemble Land of Kush, and his newest composition, to Toronto; Five Canadian composers, each with a different CBC connection, are nominated for JUNOs; and The WholeNote team presents its annual Summer Music Education Directory, a directory of summer music camps, programs and courses across the province and beyond.
In this issue: composer Nicole Lizée talks about her love for analogue equipment, and the music that “glitching” evokes; Richard Rose, artistic director at the Tarragon Theatre, gives us insights into their a rock-and-roll Hamlet, now entering production; Toronto prepares for a mini-revival of Schoenberg’s music, with three upcoming shows at New Music Concerts; and the local music theatre community remembers and celebrates the life and work of Mi’kmaq playwright and performer Cathy Elliott . These and other stories, in our double-issue December/January edition of the magazine.
In this issue: conversations (of one kind or another) galore! Daniela Nardi on taking the reins at "best-kept secret" venue, 918 Bathurst; composer Jeff Ryan on his "Afghanistan" Requiem for a Generation" partnership with war poet, Susan Steele; lutenist Ben Stein on seventeenth century jazz; collaborative pianist Philip Chiu on going solo; Barbara Hannigan on her upcoming Viennese "Second School" recital at Koerner; Tina Pearson on Pauline Oliveros; and as always a whole lot more!
In this issue: several local artists reflect on the memory of composer Claude Vivier, as they prepare to perform his music; Vancouver gets ready to host international festival ISCM World New Music Days, which is coming to Canada for the second time since its inception in 1923; one of the founders of Artword Artbar, one of Hamilton’s staple music venues, on the eve of the 5th annual Steel City Jazz Festival, muses on keeping urban music venues alive; and a conversation with pianist Benjamin Grosvenor, as he prepares for an ambitious recital in Toronto. These and other stories, in our October 2017 issue of the magazine.
In this issue: a look at why musicians experience stage fright, and how to combat it; an inside look at the second Kensington Market Jazz Festival, which zeros in on one of Toronto’s true ‘music villages’; an in-depth interview with Elisa Citterio, new music director of Tafelmusik Baroque Orchestra; and The WholeNote’s guide to TIFF, with suggestions for the 20 most musical films at this year’s festival. These and other stories, in our September 2017 issue of the magazine!
CBC Radio's Lost Horizon; Pinocchio as Po-Mo Operatic Poster Boy; Meet the Curators (Crow, Bernstein, Ridge); a Global Music Orchestra is born; and festivals, festivals, festivals in our 13th annual summer music Green Pages. All this and more in our three-month June-through August summer special issue, now available in flipthrough HERE and on the stands commencing Thursday June 1.
From science fact in "Integral Man: Music and the Movies," to science fiction in the editor's opener; from World Fiddle Day at the Aga Khan Museum to three Canadians at the Cliburn; from wanting to sashay across the 401 to Chamberfest in Montreal to exploring the Continuum of Jumblies Theatre's 20-year commitment to the Community Play (there's a pun in there somewhere!).
In this issue: Our podcast ramps up with interviews in March with fight director Jenny Parr, countertenor Daniel Taylor, and baritone Russell Braun; two views of composer John Beckwith at 90; how music’s connection to memory can assist with the care of patients with Alzheimer’s; musical celebrations in film and jazz, at National Canadian Film Day and Jazz Day; and a preview of Louis Riel, which opens this month at the COC. These and other stories, in our April 2017 issue of the magazine!
On our cover: Owen Pallett's musical palette on display at New Creations. Spring brings thoughts of summer music education! (It's never too late.). For Marc-Andre Hamelin the score is king. Ella at 100 has the tributes happening. All; this and more.
In this issue: an interview with composer/vocalist Jeremy Dutcher, on his upcoming debut album and unique compositional voice; a conversation with Boston Symphony hornist James Sommerville, as as the BSO gets ready to come to his hometown; Stuart Hamilton, fondly remembered; and an inside look at Hugh’s Room, as it enters a complicated chapter in the story of its life in the complex fabric of our musical city. These and other stories, as we celebrate the past and look forward to the rest of 2016/17, the first glimpses of 2017/18, and beyond!
In this issue: a conversation with pianist Stewart Goodyear, in advance of his upcoming show at Koerner Hall; a preview of the annual New Year’s phenomenon that is Bravissimo!/Salute to Vienna; an inside look at music performance in Toronto’s health-care centres; and a reflection on the incredible life and lasting influence of the late Pauline Oliveros. These and more, in a special December/January combined issue!
In this issue: David Jaeger and Alex Pauk’s most memorable R. Murray Schafer collabs, in this month’s installment of Jaeger’s CBC Radio Two: The Living Legacy; an interview with flutist Claire Chase, who brings new music and mindset to Toronto this month; an investigation into the strange coincidence of three simultaneous Mendelssohn Elijahs this Nov 5; and of course, our annual Blue Pages, a who’s who of southern Ontario’s live music scene- a community as prolific and multifaceted as ever. These and more, as we move full-force into the 2016/17 concert season- all aboard!
Music lover's TIFF (our fifth annual guide to the Toronto International Film Festival); Aix Marks the Spot (how Brexit could impact on operatic co-production); The Unstoppable Howard Cable (an affectionate memoir of a late chapter in the life of of a great Canadian arranger; Kensington Jazz Story (the newest kid on the festival block flexes its muscles). These stories and much more as we say a lingering goodbye to summer and turn to the task, for the 22nd season, of covering the live and recorded music that make Southern Ontario tick.
It's combined June/July/August summer issue time with, we hope, enough between the covers to keep you dipping into it all through the coming lazy, hazy days. From Jazz Vans racing round "The Island" delivering pop-up brass breakouts at the roadside, to Bach flute ambushes strolling "The Grove, " to dozens of reasons to stay in the city. May yours be a summer where you find undiscovered musical treasures, and, better still, when, unexpectedly, the music finds you.
INSIDE: The Canaries Are Here! 116 choirs to choose from, so take the plunge! The Nylons hit the road after one last SING! Fling. Jazz writer Steve Wallace wonders "Watts Goode" rather than "what's new?" Paul Ennis has the musical picks of the HotDocs crop. David Jaeger's CBC Radio continues golden for a little while yet. Douglas McNabney is Music's Child. Leipzig meets Damascus in Alison Mackay's fertile imagination. And "C" is for KRONOS in Wende Bartley's koverage of the third annual 21C Festival. All this and as usual much much more. Enjoy.
From 30 camp profiles to spark thoughts of being your summer musical best, to testing LUDWIG as you while away the rest of so-called winter; from Scottish Opera and the Danish Midtvest, to a first Toronto recital appearance by violin superstar Maxim Vengerov; from musings on New Creations and new creation, to the boy who made a habit of crying Beowulf; it's a month of merry meetings and rousing recordings reviewed, all here to discover in The WholeNote.
2016 is off to a flying start! We chronicle the Artful Times of Andrew Burashko, the violistic versatility of Teng Li, the ageless ebullience of jazz pianist Gene DiNovi and the ninetieth birthday of trumpeter Johnny Cowell. Jaeger remembers Boulez; Waxman recalls Bley's influence, and Olds finds Bowie haunting Editor's Corner. Oh, and did we mention there's all that music? Hello (and goodbye) to the February blues, and here's to swinging through the musical vines of the Year of the Monkey.
What's a vinyl renaissance? What happens when Handel's Messiah runs afoul of the rumba rhythm setting on a (gasp!) Hammond organ? What work does Marc-Andre Hamelin say he would be content to have on every recital program he plays? What are Steve Wallace's favourite fifty Christmas recordings? Why is violinist Daniel Hope celebrating Yehudi Menuhin's 100th birthday at Koerner Hall January 28? Answers to all these questions (and a whole lot more) in the Dec/Jan issue of The WholeNote.
"Come" seems to be the verb that knits this month's issue together. Sondra Radvanovsky comes to Koerner, William Norris comes to Tafel as their new GM, opera comes to Canadian Stage; and (a long time coming!) Jane Bunnett's musicianship and mentorship are honoured with the Premier's award for excellence; plus David Jaeger's ongoing series on the golden years of CBC Radio Two, Andrew Timar on hybridity, a bumper crop of record reviews and much much more. Come on in!
Vol 21 No 2 is now available for your viewing pleasure, and it's a bumper crop, right at the harvest moon. First ever Canadian opera on the Four Seasons Centre main stage gets double coverage with Wende Bartley interviewing Pyramus and Thisbe composer Barbara Monk Feldman and Chris Hoile connecting with director Christopher Alden; Paul Ennis digs into the musical mind of pianist Benjamin Grosvenor, and pianist Eve Egoyan is "On the Record" in conversation with publisher David Perlman ahead of the Oct release concert for her tenth recording. And at the heart of it all the 16th edition of our annual BLUE PAGES directory of presenters profile the season now well and truly under way.
Paul Ennis's annual TIFF TIPS (27 festival films of potential particular musical interest); Wu Man, Yo-Yo Ma and Jeffrey Beecher on the Silk Road; David Jaeger on CBC Radio Music in the days it was committed to commissioning; the LISTENING ROOM continues to grow on line; DISCoveries is back, bigger than ever; and Mary Lou Fallis says Trinity-St. Paul's is Just the Spot (especially this coming Sept 25!).
