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Volume 21 Issue 4 - December 2015/January 2016

  • Text
  • December
  • Toronto
  • Jazz
  • Arts
  • February
  • January
  • Symphony
  • Theatre
  • Performing
  • Faculty
  • Volume
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.

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different sounds. He takes up to three weeks to just play those chords over and over on a piano or synthesizer, many of which will have microtunings. Finally, through an intuitive process, he selects up to ten chords to use as his structure in any given composition. Halladay elaborates on the importance of the spectral approach to composition. Working with timbre or using extended techniques on traditional instruments “is not unique to the spectralists, but what is different is they are using timbre for the structural organization of music.” This approach contrasts with the majority of compositional strategies where melody and harmony are the mainstays of organization, even if the music itself is pushing boundaries as in minimalism, post-serialism, chance procedures, the use of extra-musical ideas, or the fusion of different musical traditions. With spectral composition, “the process opens a window to all the elements that make up a sound, especially those aspects beyond the audible range” Halladay says. University of Toronto’s New Music Festival. As Halladay emphasized during our talk, the educational aspect of presenting Leroux’s music is important, introducing unfamiliar music to students who would otherwise never be exposed to it. They are always impressed with “how good the music is.” So it is fitting that U of T’s New Music Festival follows up this experience with Leroux’s work early in the new year with over a week of concerts running from January 30 to February 7, centred around the music of Canadian composer Allan Gordon Bell. One of the highlights of the festival will the performance, February 2, by Calgary’s Land’s End Ensemble of Bell’s work Field Notes, a JUNO award-winning work inspired by the prairie landscape. On February 1, the Gryphon Trio will perform works by Bell’s former students – Carmen Braden, Heather Schmidt, Kelly-Marie Murphy and Vincent Ho. The final concert of the festival on February 7 will premiere a newly commissioned choral work from Bell at the Contemporary Showcase Concert. During the festival, various student ensembles – including the Wind Ensemble, the Symphony ESPRIT ORCHESTRA we’re not voting for our bank balance. Alex Pauk, Founding Music Director & Conductor Daniel Bjarnason Bow to String solo cello and ensemble version Alexina Louie Imaginary Opera Samuel Andreyev Movements and Measures* R. Murray Schafer The Falcon’s Trumpet for trumpet and orchestra Bryan Cheng – cello / Robert Venables – trumpet *World Premiere – commissioned by Esprit with generous support from The Koerner Foundation Season Sponsor Concert Sponsor The Max Clarkson Family Foundation Sunday January 24, 2016 8:00pm Concert | Koerner Hall Box Office 416 408 0208 #EspritO The Koerner Foundation The Mary-Margaret Webb Foundation The Max Clarkson Family Foundation 22 | December 1 2015 - February 7, 2016

Orchestra and the gamUT Contemporary Music Ensemble – will also be performing a wide range of works by Bell and others including an electroacoustic concert. Music and Dance. One aspect of Leroux’s music that I didn’t mention above is his fascination with the ideas of movement and gesture in his music, whether that be physical movements made by performers, or metaphorical gestures realized through sounds that imitate a real gesture created by a human body. For example, to compose one of his pieces, he worked with data generated from a Bluetooth pen with a camera inside. An old musical manuscript was rewritten with this pen, which was tracking the speed or the thickness of the lines. This information was used as material for the piece. Other ways of exploring the relationship between sound and movement are highlighted in several other upcoming concerts. For the opening concert of the Music Gallery’s Emergents series on December 10, curator and percussionist Germaine Liu has created a multidisciplinary ensemble to explore the unique space of the Gallery’s church sanctuary. Inspired by the collaboration of John Cage and Merce Cunningham, members of the ensemble will perform, compose and choreograph a series of new pieces that seek to blend the two disciplines of dance and music into an interdependent relationship. Similarly, four improvising musicians, a painter and a dancer will explore the possibilities of interdisciplinary improvisation and communication in the NUMUS concert on December 13 in Kitchener- Waterloo. And on February 5 and 6, the Royal Winnipeg Ballet, in Toronto as part of their Ontario tour, will perform Mark Gooden’s choreography which was inspired by the stories of Residential School survivors, with music by Christos Hatzis and a performance by Tanya Tagaq. Additional Concerts Jan 11: Various composers’ works will be performed by Pamelia Stickney on the theremin, an early electronic music instrument, at Gallery 345. The evening will also include improvisations and a demonstration of the instrument. Jan 14: Audiences will have a great opportunity to hear the brilliant and dynamic JACK Quartet in a concert co-presented by Music Toronto and New Music Concerts. This high-voltage quartet will perform works by John Luther Adams, John Zorn, Iannis Xenakis and an arrangement of a work by medieval composer Rodericus. Jan 20: A celebration of American composer Nancy Van de Vate’s 85th birthday with a series of her mini-operas at Walter Hall. Wendalyn Bartley is a Toronto-based composer and electrovocal sound artist. St. Anne’s Ensemble-in-Residence The Junction Trio NOW IN THEIR 7th SEASON! SHADE OF THE SHELTERING PALMS Music of the Group of Seven Sunday, November 29th 3:30pm ST. ANNE’S COMMUNITY CANTATE Sunday, December 20th 3pm LOVE LETTER FROM MESSIAEN Friday, February 12th 7:30pm YEAR OF THE MONKEY with Ron Korb Sunday, February 21st 3:30pm EVENSONG with Schola Magdalena Sunday, March 6th 3:30pm ST. ANNE’S ANGLICAN CHURCH | 270 GLADSTONE AVENUE PWYC ( suggested) or By Donation Beat by Beat | Classical & Beyond Daniel Hope’s Menuhin Tribute PAUL ENNIS Daniel Hope has built a substantial international career as an acclaimed violin soloist, chamber musician and music festival curator. A champion of contemporary music and an advocate of the classical canon, his musical curiosity cannot be pigeon-holed. He was the violinist with the legendary Beaux Arts Trio for six years and is currently associate artistic director of the Savannah Music Festival. He is a prolific writer (with three German-language books to his credit) who has devoted much of his time over the last 15 years to the study and preservation of music by composers murdered by the Nazis. He has worked with the brilliant, Oscar-winning German actor, Klaus Maria Brandauer, on projects combining music and the spoken word, including a look at Stravinsky’s A Soldier’s Tale through the prism of war and peace. Hope’s father, author Christopher Hope, was an outspoken critic of apartheid. Those beliefs forced the whole family to leave South Africa in 1974 when Daniel was six months old. They moved to London, where his mother took a job as Yehudi Menuhin’s secretary, later becoming his manager. January 28 Hope returns to Koerner Hall for his third Toronto concert in 16 months following memorable appearances September 30, 2014 as soloist in Max Richter’s Vivaldi’s Four Seasons Recomposed, and April 8, 2015 when his singing tone contributed greatly to the Chamber Music Society of Lincoln Center’s performance of Mahler and Brahms piano quartets. His upcoming recital “Yehudi Menuhin @ 100” with pianist Sebastian Knauer is a tribute to the man in whose house he grew up and with whom he performed many times during Menuhin’s last ten years. The program consists of music dear to Menuhin’s heart. He and Glenn Gould famously recorded J.S. Bach’s Violin Sonata No. 4 in C Minor, BWV 1017. The next piece on the program, George Enescu’s Impromptu concertant reflects the fact that Menuhin studied with Enescu from the age of 11, a mentorship that led to the two becoming lifelong friends. Menuhin speaks about him on YouTube: “Enescu will always be my guiding light as a man, as a musician.” Menuhin also had great affection for the next piece on the program, Mendelssohn’s Sonata in F Major, which Menuhin was instrumental in publishing for the first time in 1953. The Walton Violin Sonata was commissioned by Menuhin in the late 1940s. It’s followed by Ravel’s “Kaddisch” from Deux mélodies hébraïques. Hearing Menuhin play it on YouTube from a recording he made when he was 20 is a very moving experience. He lets the music speak for itself; his playing is serene yet paradoxically forceful. Bartók’s Romanian Folk Dances, which conclude the program, acknowledge Menuhin’s devotion to the Hungarian composer (Menuhin commissioned the Sonata for Solo Violin from Bartók). All in all, a splendid way to evoke Menuhin’s spirit. Sheila Jaffé violin Sunday Dec. 6, 3pm Peter Longworth piano Mozart, Szymanowski Franck , Claude Vivier Heliconian Hall 35 Hazelton Ave 416.654.0877 December 1 2015 - February 7, 2016 | 23

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