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!).
else will likely quibble
else will likely quibble with that and I can just suffer my envy of his slap tongue in silence. Max Christie Piano and Erhu Project Volume 2 Nicole Ge Li; Corey Hamm Redshift Records TK440 redshiftrecords. org !! In the February 2015 issue of The WholeNote I weighed in on the satisfying premiere album by the Vancouver Piano and Erhu Project (PEP). With the prompt release of PEP, Volume 2 the transcultural duo of pianist Corey Hamm and erhu virtuoso Nicole Ge Li have further raised the bar. The album offers substantial rewards for listeners. Among them: nine well-crafted compositions in the Western art music tradition for this not-quite-yet standard instrumental pairing by nine composers with strong Canadian ties. The album’s repertoire exhibits several high points including Keith Hamel’s emotionpacked, elegiac Homage to Liu Wenjin, nominated for Composition of the Year at the 2015 Western Canadian Music Awards. The other contributing composers are represented with works rich with glints of virtuosity, humour, nostalgia and dreamscape. It is Who Made the Inch of Grass composed by Aaron Gervais which haunted me the most, however, prompting repeated pleasurable listening. Gervais explores the erhu’s richly lyrical voice in his Debussy-daubed work, which in several passages is also subtly favoured with Messiaen-like chordal harmonies in the piano. The duo’s musically nuanced playing, combined with repertoire freshly commissioned in 2013 and 2014 – attractively captured in this recording – has caught the attention of critical ears. The album earned a nomination for Classical Recording of the Year at the 2015 Western Canadian Music Awards. Given the rewards on display here and PEP’s ever-growing repertoire and reputation, in what musical directions will Volume 3 take us? Andrew Timar Louis Babin – Saint-Exupéry: De Coeur, De Sable et D’Étoiles Moravian Philharmonic Orchestra; Petr Vronsky Les Productions Louis Babin ODL-LB-002 (louisbabin.com) !! Antoine de Saint- Exupéry is perhaps best remembered today as the creator of the famous children’s book Le Petit Prince. Yet he was not only an acclaimed French author of several important works and laureate of high French literary awards, but also a French Air Force pilot who lost his life during a reconnaissance mission in 1944. What a noble character to honour in music, and that’s exactly what Québec-born composer Louis Babin has undertaken here. The CD opens with Saint Exupéry: de coeur, de sable et d’étoiles, a three-movement work named for Saint Exupéry’s novel from 1939. The music pays homage not only to the author but to his whole life. Vol de vie, the first movement, is suitably bold and heroic, featuring an appealing array of tonal colours treated by the Moravian Philharmonic with great panache. The second movement, Les adieux au Petit Prince is moody and mysterious, making effective use of percussion, while La marche des Hommes with its stirring brass sections, is pure cinematography. Couleurs for string orchestra is a poignant reflection on the trials of adolescence while the Suite du promeneur is a musical depiction of life’s passage on earth. Also scored for strings, the suite comprises four miniature movements, each a study in contrasts, from the wistfulness of Le Curieux to the steadfast defiance of La morale de cette. Despite its French roots, this music seems to have a Scandinavian feel to it, the sprightly rhythms and angular lines akin to those of Dag Wirén or Carl Nielsen. The warm and resonant sound from the Moravian strings further enhances a solid performance. The premise behind this CD is an intriguing one and it’s resulted in some fine music by a composer we should be hearing more from – bravo to Babin and the musicians from Moravia. Richard Haskell Torus Yotam Haber – Chamber Music 2007-2014 Contemporaneous; Mivos Quartet; Max Mandel; Eric Huebner Roven RR10015 !! In this release of chamber music selections by renowned composer Yotam Haber, creative influences range from modernist sculpture to Jewish chant. Each piece on the disc provides a sonorous glimpse into Haber’s compositional world; it is rich and full of haunting expression. The diversity of style on display throughout each piece is a testament to his range of influence. While there remains a close tie to a rigid brand of modernism, Haber is not afraid to explore passages filled with lavish lyricism and broad melodic contour. We Were All and On Leaving Brooklyn are pieces that exemplify a careful and unique deliberation paid to vocal timbre and text setting. Reichian bursts of post-minimalism are interspersed with clever passages infused with driving rhythmic exuberance. A compelling sense of pacing and harmonic inventiveness in Last Skin (a piece for eight micro-tuned violins in two parts) is perhaps the most captivating example of why Haber’s voice is distinctly his own. Microtonal eeriness and waves of colourful harmony culminate to reach a powerful set of gestures all within the confines of limited materials. The string quartet Torus evokes a threedimensional listening space around which tremendous and threatening forces rustle and drive at breakneck speeds. In From the Book of Maintenance and Sustenance, Haber uses Jewish liturgical melodies that echo touching historical associations and a haunting nostalgia. The musical environment on this disc is abundant and boundless. Each work is an indication that Haber’s ear is tuned in to the surrounding world. These influences make their way into the music and are married with a truly distinctive creative voice. The result is a riveting set of chamber compositions that make for a rewarding listening experience. Adam Scime Iannis Xenakis – the piano works Stephanos Thomopoulos Timpani Records 1C1232 Xenakis: IX – Pleiades; Rebonds Kuniko Linn Records CKD 495 !! The music of iconoclast modern composer Iannis Xenakis has by now been mostly released on disc. There are a few firsts, though, in these two new discs. Stéphanos Thomopoulos, a Greek pianist now living in France who did a doctorate on Xenakis’ piano music, has delved into the archives to dig out some early pieces completed while the composer was studying composition in the years 1949-52: Six chansons pour piano, and Trois pièces inédites. There is very little “Xenakis” in these pieces, but they are interesting and quite well written for the piano. The collection is eclectic, not traditional but not avant-garde. Thomopoulos adds the early trio, Zyia, for soprano, flute and piano, to his exploration of Xenakis’ juvenilia. This has been recorded before, and is quite a substantial work, a rather strange mixture of simple modal melodies, virtuosic flurries, low clusters and mathematical (Fibonacci) ostinato patterns. There is nothing here to be heard of Xenakis’ groundbreaking works Metastaseis and Pithoprakta, even though they appeared just a few years later. On the rest of the disc 70 |Sept 1 - Oct 7, 2015 thewholenote.com
Thomopoulos presents excellent readings of Xenakis’ four mature piano works: Herma, Evryali, Mists and À R. I thought I heard a piano string snapping at a climactic point in Herma, but there are a few other snaps, pointing to hot levels during the recording. The sound is otherwise clear and full. The quality of sound is one of the main features of the Kuniko disc, presenting two of Xenakis’ important works for percussion, Pléïades and Rebonds. They have both been recorded before, but never has Pléïades, a 40-minute opus for six percussionists, been done by one player! (It is multi-tracked, of course.) The label, Linn Records, is connected to the high-end audio company based in Scotland. This hybrid disc lets you listen in pristine surround sound (requiring SACD capacity) or in stereo. If you get the chance, listen to the surround version: it is amazing – the intricate layers of rhythms and instruments coming at you from all round. Kuniko is a fine percussionist, and she clearly has taken much care with this recording. I especially enjoyed the sound of her Sixxens, metallic instruments specially fabricated for this piece. In concert, the sound can be quite harsh, but here we get all the details, the sound a cross between Indonesian gamelan and Harry Partch microtonal percussion. The disc closes with the solo work, Rebonds, for drums and woodblocks. She plays well, the one surprise being the substitution of a marimba-like instrument for the woodblocks. James Harley Michael Hersch – Last Autumn Jamie Hersch; Daniel Gaisford Innova 907 (michaelhersch.com) !! Michael Hersch is a composer who has experienced considerable success from an early age. He won first prize in the Concordia American Composers Awards, one of the youngest composers to be awarded a Guggenheim Fellowship in music, and a Rome Prize recipient, all in his 20s. Due to this early success, many orchestras began to regularly commission Hersch which led to an impressive catalogue of large ensemble words. In recent years however, the composer has shifted to compositions for smaller forces that are comprised of increasingly expansive forms. The music of Last Autumn is no exception. Scored for cello and horn, the piece consists of 41 movements lasting nearly two hours. While this seems like an impossible instrumental combination to maintain a level of interest necessary over two hours, Hersch, on the contrary, has composed an endlessly impressive collection of moods and textures for the two instruments. Inspired by classical dance forms and the poetry of W.G. Sebald, each movement occupies a unique sound world ranging from the pungent and monumental to the beautifully stagnant and fragile. Many of the movements are violent entryways into small forms with unified gestures. Various solo interludes are wonderful examples of how the composer is able to successfully transfer the essence of the chosen poetry into impressive sonic journeys. Much of the music in the piece is violent and extreme while maintaining a mysterious clarity. The careful interplay between the horn and cello begins to fashion a connective tissue that stabilizes the miniature sound worlds throughout each movement. Perhaps the most impressive writing is for the cello, a feature of the piece that is undoubtedly aided by the fact that the cellist is the composer’s brother, Jamie Hersch. This impressive set of miniatures is an ideal listening experience for those seeking truly novel sonic experiments within a modernist approach. Adam Scime JAZZ AND IMPROVISED MUSIC Movin’ Forward Robi Botos A440 Entertainment A440 010 (robibotos. com) !! Robi Botos, the highly respected jazz piano player, has released a fourth CD as leader. Since arriving in Canada in 1998 from his native Hungary he has become one of the most in-demand piano players in Toronto for both recordings and live gigs. His mentoring by the great Oscar Peterson shows in his prodigious but not overly showy technique. Movin’ Forward is mostly originals – with the exception of Close to You by Bacharach/David and the standard Softly as in a Morning Sunrise – and, like his mentor, Botos’ songwriting style is melodic and swinging. There are influences of funk and Eastern European music and some tracks edge over into modern, but the style is mostly mainstream and accessible. The album opens with the New Orleansstyle EurOrleans then goes more hard-driving with CapTAIN KirkLAND, a tribute to Kenny Kirkland, a friend of Jeff “Tain” Watts who is featured on the track. Botos’ bandmates for Movin’ Forward are among the American jazz elite – in addition to Watts on drums, Robert Leslie Hurst III is on bass and Seamus Blake plays saxes and EWI. These multiple Grammy Award-winning players bring authority and facility to the tracks as they are given ample room to stretch, both on the lovely ballads such as Violet (a tribute to Botos’ wife) and the hard-driving Heisenberg which I can only assume is a tribute to the TV drama Breaking Bad. Which shows that inspiration can come from just about anywhere. Cathy Riches Touchstone Ariel Pocock Justin Time JTR 8592-2 (arielpocock.com) !! For her debut CD, young, fresh and talented keyboardist/ vocalist/composer/ arranger Ariel Pocock has assembled a team of skilled colleagues – beginning with veteran Producer Matt Pierson, who, during his tenure at Warner Bros. Records, discovered and successfully produced an array of today’s top jazz luminaries, including Joshua Redman and Brad Mehldau. Pocock’s instrumental colleagues include some of our finest contemporary jazz artists, including Larry Grenadier on bass, Julian Lage on guitar, Eric Harland on drums and percussion and Seamus Blake on tenor saxophone. Indeed, Pierson and Pocock’s indisputable and intuitive good taste has informed every track of this fine opening salvo. Like many emerging artists, Pocock feels free to incorporate a plethora of musical styles, and although firmly rooted in jazz, she seems to reject categorization – freely drawing upon the musical influences of Cuban and Brazilian folk music, standards from The Great American Songbook, iconic jazz composers such as Keith Jarrett and Thelonious Monk, and the contributions of meta-genre pop artists Tom Waits, Randy Newman and James Taylor. Whether Pocock is scat singing, rendering a powerful lyric or exercising her considerable keyboard chops, her innate musicality shines through. There is so much “right” about this recording, that it is a challenge to distill it into comments about just a few of the exceptional tracks… but clear triumphs include Bob Dorough’s Devil May Care, Randy Newman’s Real Emotional Girl, Charles Mingus’ Ugly Beauty/Still We Dream and Kate Bush’s Mother Stands for Comfort. No doubt, this auspicious debut bodes well for Pocock’s forthcoming long and relevant artistic career. Lesley Mitchell-Clarke No U Turn Bobby Bradford & John Carter Quintet Dark Tree DT (RS) 05 (darktree-records. com) !! Two of his earliest associates demonstrate how thoroughly Ornette Coleman’s concepts of freedom had penetrated the music’s lingua franca, in this 1975 never-before-released concert from Pasadena. Profoundly analytical, yet with an animated pulse, cornetist Bobby thewholenote.com Sept 1 - Oct 7, 2015 | 71
Choral Scene: Uncharted territory: three choirs finding paths forward; Music Theatre: Loose Tea on the boil with Alaina Viau’s Dead Reckoning; In with the New: what happens to soundart when climate change meets COVID-19; Call to action: diversity, accountability, and reform in post-secondary jazz studies; 9th Annual TIFF Tips: a filmfest like no other; Remembering: Leon Fleisher; DISCoveries: a NY state of mind; 25th anniversary stroll-through; and more.
Online in flip through here, and on stands commencing Tues SEP 1.
Following the Goldberg trail from Gould to Lang Lang; Measha Brueggergosman and Edwin Huizinga on face to face collaboration in strange times; diggings into dance as FFDN keeps live alive; "Classical unicorn?" - Luke Welch reflects on life as a Black classical pianist; Debashis Sinha's adventures in sound art; choral lessons from Skagit Valley; and the 21st annual WholeNote Blue Pages (part 1 of 3) in print and online. Here now. And, yes, still in print, with distribution starting Thursday October 1.
Alanis Obomsawin's art of life; fifteen Exquisite Departures; UnCovered re(dis)covered; jazz in the kitchen; three takes on managing record releases in times of plague; baroque for babies; presenter directory (blue pages) part two; and, here at the WholeNote, work in progress on four brick walls (or is it five?). All this and more available in flipthrough HERE, and in print Tuesday Nov 3.
In this issue: Beautiful Exceptions, Sing-Alone Messiahs, Livingston’s Vocal Pleasures, Chamber Beethoven, Online Opera (Plexiglass & All), Playlist for the Winter of our Discontent, The Oud & the Fuzz, Who is Alex Trebek? All this and more available in flipthrough HERE, and in print Friday December 4.
July/August issue is now available in flipthrough HERE, bringing to a close 25 seasons of doing what we do (and plan to continue doing), and on stands early in the week of July 5. Not the usual bucolic parade of music in the summer sun, but lots, we hope, to pass the time: links to online and virtual music; a full slate of record reviews; plenty new in the Listening Room; and a full slate of stories – the future of opera, the plight of small venues, the challenge facing orchestras, the barriers to resumption of choral life, the challenges of isolation for real-time music; the steps some festivals are taking to keep the spirit and substance of what they do alive. And intersecting with all of it, responses to the urgent call for anti-racist action and systemic change.
"COVID's Metamorphoses"? "There's Always Time (Until Suddenly There Isn't)"? "The Writing on the Wall"? It's hard to know WHAT to call this latest chapter in the extraordinary story we are all of a sudden characters in. By whatever name we call it, the MAY/JUNE combined issue of The WholeNote is now available, HERE in flip through format, in print commencing Wednesday May 6, and, in fully interactive form, online at thewholenote.com. Our 18th Annual Choral Canary Pages, scheduled for publication in print and flip through in September is already well underway with the first 50 choirs home to roost and more being added every week online. Community Voices, our cover story, brings to you the thoughts of 30 musical community members, all going through what we are going through (and with many more to come as the feature gets amplified online over the course of the coming months). And our regular writers bring their personal thoughts to the mix. Finally, a full-fledged DISCoveries review section offers cues and clues to recorded music for your solitary solace!
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!).
