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.
under Soviet and Nazi
under Soviet and Nazi regimes, in 1949 some 17 members of the allmale Ukrainian Bandurist Chorus immigrated to the United States.” Many established a home base in Detroit and Cleveland, where they continued to perform the UBC repertoire of four-part songs – tenor I, tenor II, baritone, bass – accompanied by banduras in several ranges. “In North America, the UBC carried the torch for songs with lyrics that were banned under Soviet rule,” continued Sklierenko. “We carried on Ukrainian historical and religious traditions free of the censorship that made it impossible in the homeland at the time.” An active member of UBC since 1990 when he was just 13, Sklierenko pointed out that Canadians of Ukrainian descent have played key and very early roles in the group, “perhaps ever since the Chorus’ first Toronto performance on October 22, 1949.” The UBC “has performed in Massey Hall several times since the 1950s,” added Sklierenko, so the upcoming 97th anniversary concert on October 24 is somewhat of a homecoming – with a special twist. Joining the Chorus on stage will be Ruslana, the 2004 Eurovision Song Contest and World Music Awards winner, an artist who can boast the best selling Ukrainian album ever, the 2003 Dyki Tantsi (Wild Dances). This remarkable singer, songwriter, producer, musical conductor and dancer also served as a deputy in the Ukrainian parliament and is an internationally recognized social activist. In 2013 and 2014 she played a prominent role in the pro-EU Euromaidan movement. Beley, a current bass bandura player with UBC, told me that Ruslana “will perform her pop hits at Massey Hall before joining forces with us in Ukrainian songs in our repertoire.” In previous columns I’ve written about several other Toronto ensembles with proud Ukrainian roots. The activist communityminded women’s Kosa Kolektiv, and the self-proclaimed “Balkanklezmer-gypsy-party-punk-super-band” Lemon Bucket Orkestra, presently winding up its international tour, come readily to mind. Sklierenko knows them well. “Playing a core role in community building and also on an official international level, the UBC represents the Ukrainian diaspora in Canada and in the U.S.A. In addition we are eager to reach out to both bandurist and non-bandurist groups like Kosa and Lemon Bucket. I see great potential for synergy here.” I asked why the bandurist choruses are all male. Were they consciously modelling themselves on the practices of the earlier, exclusively male, kobzar troubadours? “Interest among Ukrainian women in taking part in the bandurist tradition has been steadily building,” noted Sklierenko. “In fact there’s an all-women’s North American bandurist chorus being formed right now.” As co-chair of the UBC’s 2018 centennial anniversary celebrations, Sklierenko laid out the group’s ambitious three-part plan to reconnect with the homeland and to ensure the continuation of the bandurist legacy. These include “a Ukrainian tour, a fund to fuel R&D and to pass on the craft of bandura building, and an educational component including workshops.” The latter category also includes support for UBC’s summer camps in Pennsylvania, since 1979 the central site for passing on bandurist traditions and recruiting new talent. Partly reflecting the success of the camps, today the majority of UBC members are second and third generation Americans and Canadians, all of them volunteering their time to further the mission of the ensemble. The evidence of the UBC’s plans, and of the passion and commitment to pursue them, all points to the bandurist performance legacy, Krar Collective sparked nearly a century ago in Ukraine, surviving well-rooted in the diaspora. The legacy also appears well-positioned to be passed on to future generations of performers in both North Americans as well as in its threatened land of origin. Small World Music Festival: The 14th annual iteration of Small World’s signature fall Music Festival runs until October 4 this year. Its ambition is no less than to “capture the world in a ten-day festival.” This year it brings international and Canadian performers representing music from Mali, Korea, Cuba, Ethiopia, Palestine, Spain and Estonia to Toronto stages. October 1 at Revival Bar, Vieux Farka Touré and his band makes a return Toronto visit presented in association with Batuki Music Society. Touré is best known for his virtuoso guitar style blending African guitar techniques with Western blues and rock, and an easygoing onstage charm. There’s a family touring connection to this town. I well recall seeing his Malian father Ali Farka Touré lay down seamless guitar grooves and plangent vocals accompanied by a lone gourd drummer one summer in a small open room at the Harbourfront Centre. October 2 the emerging Estonian singer and violinist Maarja Nuut appears at the Small World Music Centre. She repurposes old Estonian village songs, dance tunes and stories, often to live looped fiddle accompaniment and solo improv melodies. Nuut’s music cumulatively builds with a minimalist texture, one which can support emotional intensity, yet never losing sight of what the composer calls a peaceful, yet “lively relaxed state which … makes you want to prolong being in the moment and concentrate.” October 4 the Krar Collective will rock Lula Lounge, the trio armed with a krar (six-stringed bowl-shaped Ethiopian lyre), kebero (drums) and impressive vocals. Judging from their videos, they’re purveyors of sold grooves, expressive melismatic melodies and a huge sound. Bandleader Temesgen Zeleke uses an octave pedal as well as wah-wah on his electric krar but also plays an acoustic five-string model that is quieter and plucked rather than strummed, to support his eloquent vocals. The Krar Collective is a musically compelling, neo-traditional band taking traditional instruments, songs and genres, combining them into a new mode of delivery for their audiences. NB: for full enjoyment, come ready to dance. End of an era, and passing it on: On October 1, the York University Department of Music presents “Faculty Concert Series: Rhythms of India” featuring Trichy Sankaran with the Autorickshaw Trio at the Tribute Communities Recital Hall. After 44 years of service at York, where he has taught generations of students, me included, Professor Sankaran has recently retired – from teaching at York, not from performing or teaching elsewhere. This concert is his parting gift to the institution he served so long. He will share the stage with the next generation, including his daughter, vocalist Suba Sankaran, co-leader of the JUNO-nominated Indo-jazz-funk fusion ensemble Autorickshaw and her bandmates, bass guitarist Dylan Bell and tabla player Ed Hanley, Sankaran students all. The musicians will perform solo and ensemble works by the master percussionist and composer. I invite all whose life has been touched by this outstanding musician – and there have been many from around the world – to attend this once-in-a-lifetime celebration. Andrew Timar is a Toronto musician and music writer. He can be contacted at worldmusic@thewholenote.com. ABDULRAZAK KASSIM 22 | Oct 1 - Nov 7, 2015 thewholenote.com
Beat by Beat | Bandstand Fall Fare and Fanfarones JACK MACQUARRIE Clarington Concert Band Now that fall is here, information is starting to come in about the seasonal offerings of several community bands, some of them quite enticing and unusual, such as the concert offered by Clarington Concert Band on October 2 at 7:30. The concert in question is Clarington’s annual evening of classical music, this year featuring works by Felix Mendelssohn. It isn’t often that concert bands have string instrumentalists appearing as guests, but the Clarington Band does so quite regularly. For the third time the sanctuary of the Rehoboth Christian Reformed Church in Bowmanville, noted for its well-designed seating and exceptional acoustics, will be the scene of this year’s concert. Featured will be American violinist Andrew Sords and Canadian collaborative pianist Cheryl Duvall. This duo will, on this occasion, be joined by the exciting young American virtuoso cellist Sawyer Thomson. Another unusual note: it isn’t often that bands or orchestras give feature billing to an instrument. However, they are doing so this year, noting that Mr. Thomson will be performing on a rare Italian cello crafted by Giovanni Grancino in 1690. For more information, visit the band’s website at claringtonconcertband.ca. Fanfarones: Every once in a while we get invitations to concerts and are unable to attend. That was the case recently when we learned of a concert (September 18 at the 918 Bathurst Centre)by a group we had not heard of before. Fanfarones is a double wind quintet who advertize their programs as “quirky, elegant music.” With a double wind quintet it is possible to have such combinations as oboe and English horn, piccolo and flute or clarinet and bass clarinet playing at the same time to broaden the range of colours. Having not heard the term fanfarones before, it was time to learn its meaning. According to the Oxford Italian dictionary the word “fanfarones” is a term from Tuscany meaning braggarts or loud mouths. One would assume that they are proud and willing to show it. The major work on their program was Rocky Mountain Suite by Toronto composer and arranger Peter Coulman. Cobourg: Last year and the year before, we had the pleasure of joining up with the Cobourg Concert Band on their annual visit to Plattsburgh, New York, and their participation in the ceremonies commemorating the final battle of the War of 1812. Last year’s Bandstand column (October 2014) lamented that it had “rained on our parade.” This year we stayed home, and we have just been informed that the weather was absolutely perfect. Is there a hidden message in that news? North Durham: Although we rarely here from them, we have just heard from The North Durham Concert Band. They have started Turning poTenTial inTo accomplishmenT INTERNATIONAL RESOURCE CENTRE FOR PERFORMING ARTISTS presents Encounters & Workshops for Musicians & more IRCPA and CANADIAN MUSIC CENTRE curators have assembled leading experts and musicians who will share their knowledge and experience with you, including opportunities to network with fellow musicians, ask questions and interact with a variety of industry personalities. WORKSHOPS & ENCOUNTERS: Artists New To Canadasocially & professionally/ Meet the Arts Labour Unions: Oct. 28 Composers & Performers/ Meet the Funders: Oct. 30 Who’s Who in the Industry: by popular demand Nov. 1 Singers work with Measha Brueggergosman: Nov. 3-4 Singers work with Maestro Marco Guidarini: Nov. 5 Membership forms and registration www.ircpa.net MEMBERSHIP IS FREE. REGISTER TODAY & SAVE The IRCPA acknowledges with thanks the support of our moderators, panelists and volunteers. 416.362.1422 | www.ircpa.net Photo: Joy von Tiedemann an Ontario government agency un organisme du gouvernement de l’Ontario Programs subject to change. Charitable # 100220417 thewholenote.com Oct 1 - Nov 7, 2015 | 23
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.
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!).
