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.
Beat by Beat | In With
Beat by Beat | In With the New New Music’s Healthy Crop Brett Dean WENDALYN BARTLEY Despite chilly temperatures outside, the accumulation of new music events occurring in both Toronto and the main cities of southern Ontario, in February and early March, can be likened to a pot of water coming to a vigorously rolling boil. Bookending the dates covered by this issue are two major new music festivals – the University of Toronto’s New Music Festival (January 30 to February 7) and the Toronto Symphony’s New Creations Festival, opening March 5 and concluding on March 16. Since these festivals straddle the listings period, let’s begin with them, for those readers ready to jump in early in February and for those who are planning well ahead for March. U of T New Music Festival: As was previously mentioned in the December-January issue of The WholeNote, the highlight of this year’s U of T New Music Festival is the opportuniuties it presents to experience the music of Canadian composer Allan Gordon Bell from Calgary, as well as one concert featuring music of his former students. A key aspect of Bell’s compositional approach is the way he maps his listening experiences of the Canadian soundscape to the acoustic world of instruments, whether that be orchestra, string quartet, opera or jazz ensembles. It also has a fine crop of workshops, master classes and guest lectures, so I suggest perusing the listings and the festival website for the full scope of what is to be experienced. (The Land’s End Ensemble will also be performing a concert of works by Allan Bell and Omar Daniel on February 5 at Western University in London.) New Creations: Jumping ahead into March, it’s not too early to take a peek into the upcoming New Creations Festival. This year’s featured guest is Australian composer, violist and conductor, Brett Dean, who is currently artist-in-residence with the Sydney Symphony Orchestra. Dean spent a good part of his career in Europe playing viola for 14 years in the Berlin Philharmonic, eventually turning to composition as he approached the age of 40. One of his signature works – his Viola Concerto – will be performed by the composer at the opening concert on March 5. Festivalgoers will hear two additional orchestral works composed by Dean, along with a piece by fellow Australian Anthony Pateras. Local DJ legend Skratch Bastid, who appeared last May at the 21C festival, will be performing, along with the Afiara String Quartet in a commissioned work by Kevin Lau; Bastid has also been commissioned to create a Festival Remix for the final concert on March 12. The festival will also offer a world premiere collaboration between composer Paul Frehner and filmmaker Peter Mettler, a composition by Australian James Ledger that pays tribute to Anton Webern and John Lennon, and a piece by Jonny Greenwood of the iconic English rock group, Radiohead. A more in-depth look at some of these artists and concerts will appear in the March issue. Pick of the Crop: February offers a broad scope for aficionados of new music no matter what your stylistic preferences may be. These early weeks of 2016 have seen the passing of several iconic creative people from various artistic fields, among them French composer and conductor Pierre Boulez, whose artistic ideas changed the course of 20th century music. Boulez’s legacy will be celebrated in a New Music Concerts program on February 15. At the other end of the new music spectrum, the Art of Time Ensemble offer a concert on February 19 and 20 that focuses on the music of Frank Zappa, a musician whose work ranged from rock to orchestral to musique concrète. Somewhere in between, stylistically, Soundstreams has chosen to highlight music for instruments of the squeezebox family for their February 10 concert. This includes the accordion, the Argentinian bandoneón and the Korean saenghwang, each performed by virtuosic performers, such as Toronto’s own Joe Macerollo and Héctor del Curto from Argentina, playing compositions by several Canadian composers. R. Murray Schafer’s work, La Testa d’Adriana for soprano and accordion, for one example, features the spectacle of only the head of Adriana sitting on a table as she sings in interaction with the accordionist. Going Home Star: The Royal Winnipeg Ballet along with the Winnipeg Symphony Orchestra is making a visit to the Sony Centre on February 5 and 6 to perform a new work entitled Going Home Star – Truth and Reconciliation, ballet, written by Joseph Boyden based on stories that emerged during the Truth and Reconciliation Commission tour of indigenous communities. Contradictory as it may seem to use the European art forms of ballet and orchestra to tell these stories, the creative team has worked to bring aspects of indigenous culture into the overall mix in order to push the boundaries of the form. With a score composed by Christos Hatzis, the music includes the powerhouse vocals of Tanya Tagaq as well as the Northern Cree Singers. Tagaq’s experimentalist approach to traditional Inuit throat singing combines the influences of electronica and industrial music to create an unforgettable experience. (Looking ahead to May, Tagaq will be one of the featured artists of the upcoming 21C festival – but more on that in a couple of issues’ time.) Roundup: The Music Gallery presents their second Emergents concert of the season on February 5 with saxophone improvisations by Linsey Wellman and a song cycle by composer Lisa Conway, based on myths from Ovid’s Metamorphoses. The literary theme continues the next evening on February 6 with Spectrum Music’s concert featuring works by members of their composer collective based on modern literary gems, including one work by Brad Cheesman inspired by the novel Infinite Jest, written by the acclaimed American author David Foster Wallace. On February 12, the Thin Edge New Music Collective performs a series of premieres by both Canadian and international composers at the Array Space. And on March 6, they will be performing in a pop-up afternoon concert there. Now in their fifth year, Thin Edge is currently in the midst of their ensemblein-residence stint at Arraymusic, which will continue into next season as well. The Array Space is flourishing as a home for improvisers, with several opportunities in February for fans of this scene to check it out, including Audiopollination on February 13, coexisDance on February 20, and various Toronto improvisers appearing on February 16, 19 and 28. In this vein, I want to also mention two Improv Soirées at York University on February 11 and March 3. Mixed repertoire: A sure sign of the flourishing new music scene is the increasing appearance of new music within concerts of more standard classical repertoire and there are several examples of this in February. The group of 27 chamber orchestra performs the world premiere of Paul Frehner’s bassoon concerto, Apollo X on February 5. The Junction Trio will perform new works by Ron Korb on February21 and by Stephanie Martin on March 6. Music Toronto performs a work by Schafer on February 4 and music by Oskar Morawetz can be heard performed by Adam Sherkin on March 3. 20 | February 1, 2016 - March 7, 2016 thewholenote.com
And then there is the Off Centre Music Salon, an organization with a tradition of providing opportunities for different musical traditions to dialogue and engage. Their concert on February 25 at the Music Gallery, inspired by the friendship between Vladimir Horowitz and Art Tatum, will pit jazz and classical pianists against each other, as well as singers from the improv, indie-folk and classical traditions. To close things off, there is new music happening in concerts in various southern Ontario cities throughout the period, many of which also combine the new with the traditional. On February 6, the Hamilton Philharmonic Orchestra performs A Thousand Natural Shocks by Kelly-Marie Murphy. This concert also marks the debut of the HPO’s conductor and music director, Gemma New. The Isabel Bader Centre for the Performing Arts in Kingston presents Scottish composer James MacMillan’s piece Seven Last Words of Christ as well as Schafer’s The Fall into Light on March 4. The electroacoustic music of Adam Tindale will be featured at the Kingston Community Strings concert on February 19. The Peterborough Symphony Orchestra will perform the violin concerto Erika’s Violin written by Elizabeth Raum and performed by her daughter Erika on February 6. In the Kitchener/Waterloo/Guelph area there are several concerts. As part of their Mix Series, NUMUS presents emerging pianist Jason White on February21 performing Rzewski’s De Profundis as well as a world premiere by Colin Labadie. Two members of the junctQín Keyboard Collective will perform works by Canadian composers Emily Doolittle and Martin Lachance on February 24 as part of the KW Chamber Music Series. And finally, if you are a fan of the theremin, an early electronic music instrument, two early-month concerts on February 3 at the University of Waterloo and on February 4 at Guelph University will give you an opportunity to hear this music as performed by Eric Ross with video art by Mary Ross. Wendalyn Bartley is a Toronto-based composer and electrovocal sound artist. sounddreaming@gmail.com. FEBRUARY 21, 2016 @ 3 PM sponsored by ANNA & LESLIE DAN FEBRUARY 25, 2016 @ 8 PM OFF CENTRE dérangé - F. SCOTT FITZGERALD TRINITY ST. PAUL’S CENTRE 427 Bloor Street West featuring ALLISON ANGELO JOSEPH MACEROLLO INNA PERKIS JIMMY ROBERTS KRISZTINA SZABO JAMES WESTMAN BORIS ZARANKIN JULIA ZARANKIN THE MUSIC GALLERY 197 John Street Beat by Beat | Early Music Who Says It’s Too Late for Early? DAVID PODGORSKI Dare one ask if there will come a time in music history when the historically informed performance practice advocated by the early music movement becomes no longer necessary? Devotees of capital-C classical music may well wonder why the early music revival is so preoccupied with bringing back minor composers from the 17th and 18th centuries, but stops, officially, with the death of Bach in 1750. It’s a worthwhile question to ask: there were, after all, treatises on musical practice, like those beloved by the early music movement, written well into the 19th century; and the instruments of a Romantic-era orchestra were no more significantly different from those of their predecessors as they are from an an orchestra of today. Fans of Tafelmusik, for example, might once in a while dare to whisper, given the group’s near-canonic range of orchestral literature, that the group should take on more conventionally classical repertoire for a symphony orchestra. And indeed, they sometimes do. This month, as an example, Tafelmusik is giving the concertgoing public the opportunity to hear an early music take on the Classical and Romantic eras. Hopefully they will both bend the ears of a few traditionalists with a rare foray into 19th century repertoire that features works by Brahms, Beethoven and Rheinberger, and will offer a fresh take on the works in question for hard core classicists more accustomed to hearing the same repertoire kicked to death by over-large orchestras in unforgivingly large halls. If there’s an early music group in Toronto that’s qualified to take on Romantic repertoire, Tafelmusik is it – the group cut its teeth on Haydn and Mozart in the early ’90s, making it the most forward-leaning ensemble on the Toronto early music scene. Tafelmusik’s concert, on February 4 through 7 at Koerner Hall, features German conductor Bruno Weil, who has been leading the group through the Beethoven piano concertos and symphonies since 1996, and is now back to complete the cycle with a performance of the Ninth Symphony. While it’s easy to dismiss Beethoven’s Ninth as the warhorse of orchestral concert programs (who can’t hum the Ode to Joy?), it’s not often that one gets to hear it done by a period ensemble on classical instruments. From a performance practice A Gala of Song co-presented with THE MUSIC GALLERY - V. HOROWITZ featuring CHRISTINE DUNCAN LUCY FITZGIBBON ALEX LUKASHEVSKY RYAN MACEVOY MCCULLOUGH MYRIAD3 TO ORDER TICKETS, please call 416.466.1870 offcentremusic.com Feb. 28th, 7:30pm featuring past & present TSP soloists, including soprano Jane Archibald Mary Lou Fallis, host Trinity-St. Paul’s Centre trinitystpauls.ca thewholenote.com February 1, 2016 - March 7, 2016 | 21
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!).
