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.
others. Shaham started
others. Shaham started this series with a two-CD set featuring the concertos of Barber, Berg, Britten, Hartmann and Stravinsky and is clearly intrigued by the extent to which the works reflect the spirit of a turbulent era; he has been exploring this repertoire in concert performances since the 2008/2009 season. The Knights are the support in the Prokofiev, with Denève leading the Stuttgart Radio Symphony Orchestra in the Bartók. Shaham’s trademark mixture of a warm sweet tone, faultless technical assurance and impeccable musical intelligence make for immensely satisfying interpretations of both works, and he is matched by both orchestras and conductors every step of the way. No word yet on a Volume 3, but here’s hoping. Christian Tetzlaff also has a new concerto CD pairing the Dvořák Violin Concerto in A Minor Op.53 and the Romance in F Minor Op.11 with the Fantasy in G Minor Op.24 of Josef Suk on a Super Audio CD (Ondine ODE 1279-5). John Storgårds conducts the Helsinki Philharmonic Orchestra. Suk, who was Dvořák’s son-in-law, was a topnotch violinist (and grandfather of the Czech violinist Josef Suk) who is probably best remembered as a composer for his early Serenade for Strings. His music is very much in the tradition of Smetana and Dvořák – indeed, despite stylistic differences his music often sounds very much like that of his father-in-law. The Fantasy is a substantial single-movement work from 1903, and while attempts have often been made to view it as being in three-part concerto form it is essentially a rhapsodic and passionate work with numerous tempo changes, and one which makes great demands of the soloist. The Dvořák concerto has never quite made itself at home in the top echelon of violin concertos, but it’s an absolute charmer from the early 1880s – bright, lively, typically Dvořák throughout, and with a simply lovely slow movement. The Romance pre-dates it by several years and, much like the Beethoven works with the same name, is more about linear phrasing and clarity and beauty of tone than pure virtuosity. Tetzlaff meets all the demands, both technical and emotional, with ease and conviction, and with passion and sensitivity, throughout a really lovely CD. In 1852 the 14-year-old Max Bruch wrote a string quartet to apply – successfully – for the scholarship of the Mozart-Stiftung (Mozart Foundation) in Frankfurt. While musicologists researching Bruch’s music knew of its existence, the work was always considered lost – until January 2013, that is, when Ulrike Kienzle, researching a book on the history of the Mozart-Stiftung, found the manuscript in a box in the foundation’s archives. The String Quartet in C Minor, Op. Posth., is an astonishingly selfassured and mature work, bursting with energy and full of flowing melodies and rich harmonies. It’s the opening work on a simply outstanding CD of Max Bruch Complete String Quartets performed by the Diogenes Quartett (Brilliant Classics 95051). The String Quartets No.1 in C Minor, Op.9 (which, as it turned out, incorporated a substantial amount of material from the earlier work) and No.2 in E Major Op.10, both also early works from 1859 and 1861 respectively, complete the disc. Not unexpectedly, the influences of Beethoven, Schubert, Mendelssohn and Schumann are plain to hear, but these are far from being mere stylistic copies, despite the composer’s youth. They also remind us not only of how wonderfully gifted a composer Bruch was, but also of how little he strayed from his German Romantic roots throughout his long life. These are rarely heard but simply beautiful works (there’s that word “beautiful” in a Bruch review again) beautifully played and beautifully recorded. The Diogenes Quartet is apparently recording the complete Schubert string quartets for Brilliant Classics; I, for one, can hardly wait. In November 1918, shortly after the end of the First World War, Arnold Schoenberg founded the Association for Private Musical Performances “to provide artists and art lovers with a real and precise familiarity with modern music” – in Alban Berg’s words, “from Mahler up to now.” Members frequently transcribed large orchestral works for chamber ensembles. Max Reger, who died in 1916, seemed to be especially favoured by the group, although his music was generally regarded by the critics as being excessively long, overly chromatic, turgid and far too complicated. In fact, it’s more a case of an overabundance of creative ideas making it difficult for the listener to discern the overall shape and form in Reger’s music. That’s certainly true of his Violin Concerto in A Major, Op.101, completed in 1908. It’s a simply huge work (almost one hour) but melodic and accessible, and very much in the post-Brahms tradition – in fact, Reger mistakenly believed that his concerto would soon become as popular as the Brahms. The German Capriccio label has been issuing a series of recordings by the Linos Ensemble of chamber transcriptions made for the Association for Private Musical Performances, and the 1922 arrangement of the Violin Concerto by the violinist Rudolf Kolisch for flute, clarinet, horn, piano, harmonium and five strings is featured on the latest volume (C5137). Winfried Rademacher is the solo violinist. The original full orchestral version in a performance by Tanja Becker-Bender was reviewed in this column in April 2012, and it’s clearly the more satisfying of the two, although the chamber version does clarify the texture to some degree as well as rendering the virtuosic solo part more playable. There have been various attempts over the years to apply cuts to the concerto, but it has retained its original length and structure – not to mention difficulty – and as a result has remained on the fringe of the repertoire. Rademacher does full justice to the solo part, and the Linos Ensemble is excellent in this 2010 recording, apparently made for German radio. However, while the reduced forces may well help to reduce the complexity of the work they also make its more ponderous and meandering moments more apparent, and reduce the concerto’s overall effect. Still, it’s an interesting alternate view of a complicated and challenging work. Speaking of Tanja Becker-Bender, her latest release is a two-CD set of Béla Bartók: The Works for Violin and Piano with pianist Péter Nagy (SWR 19003 CD). Each performer also takes a solo turn in the spotlight, Becker- Bender with the Sonata for Solo Violin BB124 and Nagy with the Piano Sonata BB88 from 1926. CD1 has the two Rhapsodies for Violin and Piano and the two Sonatas for Violin and Piano. CD2, in addition to the two solo works, has the early Andante in A Major (a simply beautiful piece) and the Sonata in E Minor from 1902 and 1903 respectively, as well as the Romanian Folkdances in the transcription by Zoltán Székely, to whom the Rhapsody No.2 was dedicated. The two early works are both late Romantic in style, but everything else here clearly reflects the composer’s lifelong fascination with Magyar folk music that began in 1905. There’s terrific playing from both performers, with Becker-Bender mixing toughness with the brilliance where necessary without ever compromising the interpretation. The second movement of the Rhapsody No.2, in particular, is quite superb. There’s another outstanding violin and piano recital disc (Accentus 64 | May 1, 2016 - June 7, 2016 thewholenote.com
Music ACC 303711), this time from violinist Judith Ingolfsson and pianist Vladimir Stoupel with works by the French composer Albéric Magnard and the German Rudi Stephan, both of whom were killed in the First World War. It’s the first in their three-CD series Concert- Centenaire that will also feature works by Gabriel Fauré and Louis Vierne. Magnard and Stephan were both killed in somewhat bizarre circumstances, Magnard in September 1914, when his house was burned down by the advancing German army after he had shot and fatally wounded two German soldiers – Magnard’s remains were never identified – and Stephan in September 1915, when he was shot by a Russian sniper two days after his unit had moved into trenches on the Eastern Front; he was apparently the first casualty in the 900-strong unit and was only 28. Stephan was considered to be one of Germany’s leading young composers, but it’s difficult to judge from this distance – his works were neglected in the 1920s and 1930s, and many of his unpublished manuscripts were destroyed in the Allied bombing raids in 1945. He is represented here by his Groteske for Violin and Piano from 1911, the manuscript for which was only discovered in 1979 in the Bavarian State Library; it’s a short but really effective piece that shows the influence of pre-war Impressionism. Only 49 when he was killed, Magnard was considered one of the greatest French composers of his era; his style owed more to Vincent d’Indy and César Franck than to Debussy. The major work on the disc is his Sonata for Violin and Piano in G Major Op.13 from 1901; it really is a very impressive piece. Ingolfsson’s playing is simply superb throughout a fascinating CD, with Stoupel providing terrific support. Keyed In ALEX BARAN Lang Lang’s new release The Chopin Album (Sony 8872548960) is a demonstration of his belief that Chopin is all about emotion. The sheer amount of it that he releases from the dense black spots on Chopin’s pages is a wonder. There is something about the way the human brain is wired that allows gifted pianists to play the way they do. A single player can sound like two people, with hands at every point of the keyboard, drawing melodies out of dense swirls of elaborate runs and arpeggios. The scale of this genius grows when one considers that composer-pianists first conceived such phenomena in their minds then coded them to paper fully expecting their conceptions to be interpreted accurately. Pianistic genius is something shared inexplicably between creator and performer. Obviously Lang Lang is a pianist who really connects this way with Chopin. Because technique has long since ceased being a barrier, Lang Lang concentrates on content. He plays the 12 Etudes Op.25 with complete commitment to the power of both force and fragility. It would be difficult to find another performance where emotional poles are so distant from each other. The Nocturnes in E-Flat Major Op.55 No.2 and F Major Op.15 No.1 are amazing examples of this approach. Every track is a treasure and the listening experience simply begs to be repeated. I wrote about Yundi a few months ago and now have another Chopin disc by this prolific recording artist. to enjoy. A prolific recording artist Chopin Ballades, Berceuse, Mazurkas (Deutsche Grammophon 4812443) is his 19th CD. Yundi is a direct player who doesn’t venture far beyond the notes on the page unless Chopin suggests the risk promises some reward. Yundi seems to calculate his artistic risks carefully. In the Four Ballades we have impeccable playing through the first three but No.4 in F Minor Op.52 is altogether different. Here Yundi moves the expressive boundaries out further based on the potential of the emotional content of Chopin’s melodic material. It’s a brilliant and successful choice that speaks to Yundi’s maturity. Similarly, the Four Mazurkas Op.17 give us the familiar rhythmic pulse of one of Chopin’s favourite dance forms. But Chopin expresses so much more than just dance. No.3 in A-Flat Major begins to open the languorous dark side of this music and Yundi exploits this with great care. No.4 in A Minor is, however, a powerful exploration of the rich melancholy Chopin weaves so skillfully. Yundi glides through this making the most of every possible hesitation and lingering idea. It’s a magical way to end the program. Russian pianist Daniil Trifonov has all the fire of his mid-20s age. On Tchaikovsky – Piano Concerto No.1, Mariinsky Orchestra; Valery Gergiev (Mariinsky MAR 0530) Trifonov leaves no doubt that he can conquer the most difficult passages Tchaikovsky has written into the score. Trifonov and Gergiev The first recording of this complete, uncut operetta from the pens of both Honegger and Ibert! One must listen to R. Murray Schafer’s epic oratorio Apocalypsis, as heard during the 2015 Luminato Festival. It is the Everest of Schafer’s creative career! Ana Sokolovic is one of Canada’s leading composers - her works both wide-ranging and successful. “Folklore Imaginaire” features some of her more humorous and poetic work. So Long Seven is a Toronto based world/folk/acoustic band that plays original music. Their exciting debut CD features tabla, banjo, guitar and violin. thewholenote.com May 1, 2016 - June 7, 2016 | 65
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.
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!).
