circular tweets from sopranino saxophone, clarinet and flute settle uneasily next to guitar strokes. The concluding Area 12 with its corkscrew reed squeaks and rugged string quivers gives notice that neither improvisational philosophy has bested the other. But the framework for future reciprocal idea exchanges has been set. Three years earlier the protean trio of German saxophonist Peter Brötzmann, Belgian pianist Fred Van Hove and Dutch percussionist Han Bennink was constantly touring the continent confirming that a bellicose interpretation of free jazz wasn’t confined to Americans. The CD 1971 (Corbett vs Dempsey CD 020 corbettvsdempsey.com) reissues the band’s justly famous, furiously unyielding set at that year’s New Jazz Meeting, but adds an additional almost 16 minutes of sound recorded four months earlier that demonstrate the hair-trigger-like technical skill that goes into what initially seems like relentless bombast. Like the proverbial tough guy with the gentle interior, Van Hove for one uncovers elegant nearromantic phrasing on Filet Americain, which he expands with harsh clanging, sounding as if he prepared the piano with thumbtacks. Bennink confines himself to clattering reverberations and Brötzmann blows with a burr-like tone. I.C.P. No.17 is more aggressive, with the saxophonist’s subterrestrial exposition echoed by Bennink probably honking through a Tibetan radung or long metal bass horn. Just For Altena the 26-minute final showcase then shows how a palpitating rhythm can be maintained even as the players push techniques past expected instrumental limits. Spelled by the percussionist’s smashing cracks, horn blowing and yells, Brötzmann’s virtually endless honks and glottal punctuation sound as if he’s soon going to be pushing blood out of his horn as well as air. Still he manages to work in quotes from Bavarian marches, polkas, Mexican hat dances and limitless freejazz glossolalia as he plays, often unaccompanied, reaching beyond the highest imaginable altissimo slur. Like a hyperactive canine, Bennink is also in motion, shoving everything from a conga-drum interlude to bass drum resonation to gong and cymbal clashes into his accompaniment as if boiling a potluck stew. Van Hove marathon-runner-like glissandi share space with crackling kinetic expositions that whack the keys and strings as frequently as they play them. Is it any wonder that at this time this trio could challenge any electrified rock band for pure excitement? Another band that could do the same was the Willem Breuker Kollektief (WBK), like Bennink, part of Amsterdam’s fertile improv scene. Mixing anarchistic stunts, parody, constant motion, classic tune recreations plus free-form playing with top-line musicianship, the nine-piece group led by saxophonist/ clarinetist Breucker (1944-2010) was the epitome of post-modernism. Yet unlike more academically oriented Fluxus or Dada experimentalists, the WBK was so entertaining that this two-CD set recorded live in France, Angoulême 18 mai 1980 (Fou Records FR-CD 9&10 fou.records.free.fr), ends with the raucous audience demanding three successive encores. A European equivalent of Sun Ra’s Arkestra, but infinitely less serious-minded, here the group mixes the precision of Glenn Miller’s band, the romping swing of Count Basie’s and the humour of Laurel and Hardy. During the concert modern jazz originals, a tango, Kurt Weil’s Song of Mandalay, Les Brown and his band of Renown’s theme song Sentimental Journey and finally the hokey I Believe – to disperse the crowd – race by at record pace. Additionally, following Big Busy Band where the group’s solid brassy power is broken up by Rob Verdurmen’s flashy drumming à la Gene Krupa, plus bassist Arjen Gorter playing Blues in the Closet, Breucker exposes his inner Benny Goodman and tenor saxophonist Maaren van Norden outscreams Big Jay McNeeley. Eventually an episode of pseudo-show-biz banter introduces March & Sax Solo with Vacuum Cleaner where Breucker does just that, improvising in tandem and in opposition to the whining household appliance. Like a squad of quick change artists the WBK is capable of taking on any persona, with pianist Henk de Jonge for instance, comping like a bopper, knocking out stride piano asides, beginning and ending Flat Jungle with romantic flourishes and extravagant glissandi that could be Vladimir Ashkenazy playing Chopin, channels Cecil Taylor’s contrasting dynamics in the song’s centre and mocks the saxophonist’s appropriation of the highest altissimo notes in existence with studied, flamboyant quotes from Rhapsody in Blue. Gorter’s bass line and Verdurmen’s back beat ensure that foot-stomping elation is always present, even if the rhythm team may sometimes feel like extras in a Marx Brothers movie with all the musical mayhem going on around them. Still any band that on Potsdamer Stomp mocks rock music’s overwrought yakety saxes via dueling solos from Breuker and baritone Bob Drissen, at the same time as playing Name That Tune, as fragments of everything from Chick Corea’s Spain to the Marine Hymn to circus music loom into earshot, confirms that these discs do a lot more than fill in a three-year gap in the WBK discography. They’re a jubilant listening experience on their own. If music’s value is judged by its pervasive acceptance, then the tracks on Frictions/ Frictions Now (NoBusiness Records NBCD 79 nobusinessrecords.com) are as notable as the better-known efforts by Breuker, Braxton- Bailey and Brötzmann. Independent of other connections, members of the Free Jazz Group Wiesbaden (FJGW) developed a caustic and punchy free music variant, which mixed musique concrète and chance notions from notated music, folkloric instruments and tropes plus improvisation that went beyond freebop into sonic intoxication. Recorded in 1969 and 1971 and released in limited edition, the German band members eventually pursued other paths. Like Quebec’s Walter Boudreau, who went from leading the Zappa-esque ensemble l’Infonie to become a composer and artistic director of Société de musique contemporaine du Québec, trumpeter Michael Sell abandoned improvisation for fully notated work in the 1980s; saxophonist/pianist/flutist Dieter Scherf played with major German free jazzers later in the decade before abandoning music because of dental problems; drummer Wolfgang Schlick and guitarist Gerhard König’s histories are even more obscure. However the three tracks here demonstrate the band’s originality. Coming across like a spiky combination of Jimi Hendrix, Sonny Sharrock and Earl Scruggs, König’s chord-shredding flanges insinuate into whatever spaces the horns leave open with a style that includes surf music intonation, single-string finesse and preparations that could come from double bass. Schlick’s coiled rumbles and consistent thumps range from martial to miasmatic; he doesn’t swing but keeps the pieces moving notwithstanding, even when slamming his metal bracket for unusual rhythms. Squeezing death rattles and hunting-horn-like blares from his trumpet, Sell’s tone resembles those of ur-New Thing players like Earl Cross and Don Ayler. Yet when he unites with Schlick they harmonize enough to approach contemporary jazz, and even flutter out rounded grace notes on the final Frictions Now Part II, to reach a meandering, delicate tempo. Leaping among his instruments like an unsupervised child in a music store, Scherf brings something different to each one. On alto saxophone, obviously influenced by the atonal techniques of American free jazzers, his honks, snorts and blats include crying vibrations that add an unconventional Teutonic melancholy. Brief shenai and oboe interludes introduce World Music allusions to the middle of the extended Frictions, while his inner-piano strums join with König’s finger-style ornamentation on the same piece for stark tonal outlines, finally climaxing with a moving motif that appears to judder from cadence to cacophony and back again. Like crate digging in a second-hand vinyl store, reissues like these can reveal unexpected values. They confirm the talents of the known or introduce unfamiliar stylists who should have been better known first time out. Ken Waxman reviews The Necks and the Ulrich Gumpert Quartet at thewholenote.com. 82 | April 1, 2016 - May 7, 2016 thewholenote.com
Old Wine, New Bottles | Fine Old Recordings Re-Released A new box of Philips Classics restores to the catalog a wealth of analogue recordings that were, not so long ago, in wide demand by music lovers around the world: Philips Classics The Stereo Years – 50 Analogue Albums in Original Jackets (Decca 4788977, 50 CDs). After WWII Philips entered the blossoming long-playing record business by issuing American Columbia recordings in Europe under their own Philips mini-groove imprint. Columbia, inventors of the long-playing record, owned the LP logo and for many years no other manufacturer could call their product an LP. Very soon LP became generic however and that was that. Philips productions were of the highest quality, both sonically and in their immaculate pressings. In fact, when their discs were eventually pressed in North America, knowledgeable music lovers sought out the better sounding Dutch pressings in their gatefold covers even though they were marginally more expensive. It may be of some interest to audiophiles that after Ray Dolby developed his noise reduction system that enabled producers and engineers to make more accurate and wider range recordings, Dolby became the universal noise reduction system (and still is). Philips, though, preferred to tilt the high frequencies up in the recording and reverse the process for playback. Simple…tape hiss gone. There’s more to it than that, but that’s how Philips touted it at the time. In 1979 when Polygram bought Decca they owned DG, Philips and Decca, and although each company shared their technologies with the others, each retained its own recognizable sound due to the preferred choice of microphones, set-up and certainly recognizable artistic preferences. Philips, in close cooperation with Sony, devised and perfected digital encoding and in 1979 began recording digitally. The recorded performances in this box are from the analogue era, 50 recordings in replicas of their LP original jackets, often with bonus tracks. Most music lovers of a certain age – make that of any age – will be thrilled to the teeth to hear the musicians whose artistry lives on in these recordings. Dutch soprano Elly Ameling sings Schumann, Frauenliebe und -leben and Liederkreis, and ten Schubert lieder with Dalton Baldwin and Jörg Demus (1973, 1979). Mezzo Janet Baker sings Handel and Gluck with Raymond Leppard (1972, 1975). Cristina Deutekom, the Dutch coloratura, sings Verdi, Bellini, J. Strauss, etc. (1969, 1971). Dramatic soprano, Jessye Norman sings Ravel’s Shéhérazade and Berlioz’s Les Nuits d’été (1979). Gérard Souzay, the French baritone, sings Handel, Rameau, Lully and Ravel (1963, 1968). José Carreras sings 16 arias from Verdi to Rossini (1976, 1980); and there are others. Pianist Claudio Arrau, once a towering figure, plays Liszt’s Twelve Transcendental Etudes (1976) and the Concert Paraphrase on Aida (1971), also Beethoven’s Third and Fourth Piano Concertos with the Concertgebouw Orchestra and Bernard Haitink (1964). Alfred Brendel plays Schubert’s Sonata D960, The Wanderer Fantasy and Three Klavierstücke D946 (1971, 1974), Liszt’s two concertos and Totentanz (LPO Haitink, 1972), three Mozart concertos, K450, K467 and K488 (1971, 1981) and of course, the Sviatoslav Richter Sofia recital of February 1958. And lots more. How about symphonies? Brahms’ First and Fourth (van Beinum), Saint-Saëns’ Third (Daniel Chorzempa organ, Edo de Waart). I must mention that this recording was made with the Rotterdam Philharmonic in the organ’s home, De Doelen, Rotterdam. Overwhelming sound. Simply fabulous! Well deserving of mention are the Concertgebouw Orchestra recordings: The Sibelius Second conducted by George Szell, the Dvorak Seventh under Colin Davis, Heldenleben (Haitink), Bruckner Ninth (Haitink), Bruckner Fifth BRUCE SURTEES (Eugene Jochum), Schubert Ninth (Haitink) and many other so wellremembered classic recordings. In this collection there is not a single recording or performance of less than exemplary quality but check them all out for yourself at deccaclassics.com/us/cat/4788977. Arthaus Musik has issued a Blu-Ray video of a really great live performance of Mahler’s Das Lied von der Erde with Sir Colin Davis, the Bavarian Radio Symphony and soloists Doris Soffel and Kenneth Riegel (ArtHaus Musik 109113). It is fortunate for us that this 1988 event from Munich was flawlessly documented in both audio and video. Davis is not usually remembered for his Mahler, although he has directed impressive productions throughout his career. Davis was such a natural, intuitive Mahlerian in this performance that it’s a pity that he did not set down a complete cycle of this calibre. Of course he has the redoubtable Bavarian Radio Symphony Orchestra, with whom he recorded the First, Fourth and Eighth, who are surely at home in this work. The best news is the choice of soloists because both Riegel and Soffel have not been able to elsewhere demonstrate their mastery of this demanding work. From the first song, Riegel creates a bright, constantly dramatic tone, cutting through the orchestral welter. Here we can see just how fluently he projects every meaning of the text with intense, vehement authority. Soffel is captured in a role for which she was clearly born. In this production her alto voice is perfect for the role. She comes into her own after the orchestral interlude in Der Abschied where she projects a sense of loneliness and emptiness with the tone of her voice wherein she keeps any warmth under strict control, to crushing effect. Mahler, deeply superstitious, salted away the finished score and never heard it performed. Leonid Kogan (1924-1982) was born in Kiev and came to be one of the foremost violinists of the 20th century. From about 1955 on, he was considered to be among the supreme artists of his era. One only needs to hear any of his recordings to agree. Archipel has returned to the catalog the three Brahms Violin Sonatas with his accompanist Andrei Mytnik (ARPCD 03550). The first two are studio recordings and the third live from Moscow in 1956. As a bonus there are the Brahms Hungarian Dances 1, 2, 4 and 17. From the first few bars of the First Sonata, through to an inspired finale we hear totally natural Brahms played with commanding mastery. The late Leonard Rose was an American cellist who was best known during the 1950s and the 1960s through his Columbia recordings of concertos with the New York Philharmonic and the Philadelphia Orchestra and later as a member of the very special Istomin-Stern- Rose Trio. Well-respected are his early 1950s recordings with the New York Philharmonic, of which he was principal cellist, of Bloch’s Schelomo with Dimitri Mitropoulos and Tchaikovsky’s Rococo Variations under George Szell. Although many or most of his Columbia recordings remain in print as reissues, collectors are always on the lookout for live performances from around the world residing in radio archives. There are three cello concertos: Dvořák with Charles Dutoit and the ORTF Orchestra (1967); Saint-Saëns No.1 and Tchaikovsky’s Rococo Variations with Louis de Froment from Radio Luxembourg (1961); and Beethoven’s Fifth Cello Sonata with Eugene Istomin (Stratford, 1969). From WQXR in NYC, playing with pianist Nadia Reisenberg, Rose plays Beethoven’s Third Cello Sonata and Brahms First Cello Sonata (1973). These performances issued by Doremi (DHR-8038/9, 2CDs) are not intended to replace his commercial recordings but to confirm and enjoy his unmistakable, now legendary powerful sonorities and musicianship. thewholenote.com April 1, 2016 - May 7, 2016 | 83
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!).
