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.
with Zepezauer and
with Zepezauer and Walter facing off for a rumble and Camatta’s recurrent beats setting up the confrontation. Although Zepezauer’s programs can create unattributable textures, he’s more interested in chameleon-like reverses. He replicates roller-ring organ tones on Mit Dir Am Hafen, spelled by back beat drums and reed tones that seem to be filtered through a sieve; matches cymbal scrapes and sax tongue stops with signal-processed buzzes on Austritt; plus the connected Brotwar Quadrata and Fifty Shades of I Don’t Give a Fuck. Lyricon-like whooshing produces a seemingly endless disco-dancelike rhythm cannily burlesqued by reed overblowing on some tracks. Zepezauer also layers the tracks with programming tropes. Recordings of German and English voices are introduced to many tracks, subsequently cut off, slowed down or sped up so they resemble cartoon chipmunk chatter. Flanged interruptions sound like magnetic tape running backwards, which on Den Hooran challenges Camatta’s stick whumps and cymbal clanks and Walter’s intermittent processed buzzes. The brief Thank You Mom melds pre-recorded marching band echoes with live beats pumping from the others. Insisting like a punk band that the CD be played loud, there’s enough distance and detail expressed here to distinguish Knu! from rock primitives. From the opposite side of the equation is Scenes From A Trialogue (Amirani Records AMRN 045 amiranirecords.com) by Granularities consisting of soprano saxophonist Gianni Mimmo; valve and alphorn player Martin Mayes, both of whom are Italybased, and Lawrence Casserley’s signalprocessing instrument. One of the first students of electronic music at London’s Royal College of Music in the 1960s, Casserley subsequently taught at RCM while adapting software to transform the sound of his collaborators including Evan Parker. Although the tracks on Scenes From A Trialogue have subtitles like Overture, Entr’actes and Acts/Scenes it’s no academic treatise. Instead the CD shows how an undercurrent of warm machinesourced oscillations provides an appropriate frame – with auxiliary decorations if needed – for a sound canvas illustrated with painterly dabs of reed tone bursts and lonesome French horn echoes. Since Casserley’s granular synthesis layers timbres at varied speeds, volumes and densities, on Open Space for instance he regurgitates reed and brass sounds like those played by the horns, as additional staccato jabs upset the interface. In the same fashion, wind-like textures drone in the background of Entracte 1 as a solo valve horn exposition expands with polyphonic glissandi. Opaque drones create a sense of stoic inevitability, like ocean tides advancing and retreating, on the disc’s penultimate and concluding tracks. Concentrated granulation from Casserley’s machine cunningly joins Mayes’ muted slurs and Mimmo’s contralto trills, so that the sonic wedges unite with the logic of a baroque chamber piece. Earlier the connected Sacred What if you could listen in? Now you can! • Read the review • Click to listen • Click to buy Now more than 100 enhanced reviews in the Listening Room! TheWholeNote.com/Listening For more information Thom McKercher at thom@thewholenote.com Site – Procession and Sacred Site – Dark Ritual reveal an analogous concordance but with sharper edges, like a dagger compared to a butter knife. It’s the electronics which splinter the horns’ near-impressionistic mellowness with a mallet-like scrape across unyielding surfaces and dynamic whooshes. Ultimately Mayes’ mahogany-tinged tones and Mimmo’s wheezy reed trills unite with Casserley’s burbling densities for a harmonized climax. Going mano-a-mano, French clarinetist/ saxophonist Jean-Luc Petit and electronics manipulator Jean-Marc Foussat create a selfcontained sound world on …D’où Vient La Lumière! (Fou Records FR-CD 13 fourecords.com). Oddly enough the program is initially more rustic than urban with buzzing bee oscillations and ring-modulator created aviary chirps heard on the first track, plus rooster-like crowing and cicada-suggesting chirrups which emanate from the electronics on the second and title track. At points, Petit fishes out deeply embedded notes from within his bass clarinet as if they were tadpoles caught in murky algae. A climax is reached on the penultimate Premières curiosités as Foussat’s multi-channel wave forms become louder and more clamorous until they form an impermeable mass. In response, Petit’s quick yelps and circular breathing confirm the acoustic qualities of his sopranino saxophone. Although each player’s timbres are initially isolated like pinpointed colour on an otherwise all-white painting, the textures eventually blend to such an extent that at points it’s impossible to distinguish a specific source. Intensifying his attack to atonal echoes and kazoo-like squeezes as he shifts to alto saxophone on Un animal qui me plaît, Petit presages the perfect finale. With reed multiphonics splayed in front of undulating drones, the ending is as spiritually appropriate as if reflecting a soloist testifying in front of a mass choir. Unlike Foussat and Petit, whose approach is based on unifying impulses from unique instruments, the Uliben Duo’s CD Shared Memory (Creative Sources CS 327 CD creativesourcesrec.com) more accurately describes the performance of French bassist Benoit Cancoin facing the live processing of German Ulrich Phillipp. In other circumstances Phillipp also plays bass, so his electronic impulses are informed by that knowledge. Throughout he stretches the processing function so that it not only accompanies, but also enhances the double bass’ tonal qualities. More than replicating Cancoin’s initial sounds, Phillipp’s often tandem, frequently wriggling, textures extend the bull fiddle’s range, directing acoustically sourced sounds to unforeseen places. While there are instances of skyrocketing sound eruptions and multiplied string drones on the tracks surrounding Joint Repository, this over- 40-minute improv gives the players ample space to define and perfect their hook-up. Like stars floating in a night sky that illuminate at junctures, different sequences are prominent in stages. Languidly expressed, bowed resonations and bottle-top-like pops from the higher-pitched strings solidify into an electric shaver-like buzz via Phillipp’s electronics, with Cancoin interjecting sporadic mandolinlike plucks. By mid-point however, a euphonious bassoon-tempered tone predominates, until split into separate streams of sprawling, spiccato thrusts from the bass and an assembly line of crackles and drones from the electronics. Before individual improvisations dribble away into irreconcilable solipsism, the program speeds up to sound like two double basses, courtesy of Phillipp’s machine-processed memory. As brief interludes where graininess reveals one tone’s electronic origins and Cancoin’s acoustic pulls, the “humanness” of the other strands finally unite. The finale finds the two fading into a single sonic source like the fused profiles at the climaxes of the film Persona. Used judiciously with respect from both sides of the acoustic-electric divide, processing can create memorable discs of unanticipated sophistication like these sets. 76 | May 1, 2016 - June 7, 2016 thewholenote.com
Old Wine, New Bottles | Fine Old Recordings Re-Released BRUCE SURTEES Surely, with a few exceptions, there cannot be unanimity on the very best recording of an instrumental score. Some listen for wrong notes or slurred passages, most for interpretation and some for quality of the recorded sound. We may have our preferred individual performance or performances but there is no finish-line tape to chest. However, in Pollini & Abbado, The Complete Recordings on Deutsche Grammophon (DG 4821358, 8 CDs) listeners should hear no wrong notes nor slurred passages or anything less than vibrant recorded sound, regardless of the venue. The first three discs of their collaboration contain live performances of the five Beethoven piano concertos with the Berlin Philharmonic in the Philharmonie in December 1992 and January 1993, together with the Choral Fantasy Op.80 for piano, soloists, chorus and orchestra, with the Vienna Philharmonic in the Musikverein in 1986. These are all exuberant, festive performances that should excite even the most blasé listener. The body of sound is astounding. The same qualities apply in spades to the two Brahms concertos, live with the BPO (Philharmonie, 1997 and 1995) and an added earlier Brahms Second with the VPO (Musikverein, 1976). Disc seven contains the Schumann Piano Concerto (1989) and the Schoenberg Piano Concerto (1988) both in the Philharmonie. The final CD has their brilliantly articulate versions of Bartók’s first and second piano concertos with the Chicago Symphony in Orchestra Hall in 1977 followed by Luigi Nono’s Como una ola de fuerza y luz (like a wave of force and light) for piano and orchestra, soprano and magnetic tape. Recorded in the Herkulessaal, Munich with the Bavarian Rundfunks Orchestra in October, 1973, this work was written for them by Nono, their friend. “In this piece we find aspects typical of Nono’s maturity, dense accumulations of sound material, explosions and suspended silences, amid violent sounds and clear, enchanted lyricism.” Summing up, it’s pretty unlikely that a seasoned listener would not be captivated and drawn to listen to every note of the above collection. These recordings belong on the shelf of everyone who has a CD player – unless you irreversibly hate the repertoire. Another collection from DG will be of value to those who are interested in the artistry of noted figures on concert platforms a generation or two ago. The Mono Era 1948-1957 (4795516, 51 CDs) is a well-chosen selection that best represents their artists in their established repertoire or to which they aspired. In 1951, three years after American Columbia originated the long-playing discs pressed on vinylite (RCA had issued several 33 1/3 recordings by Leopold Stokowski in the mid-1930s but they quickly wore out in use) Deutsche Grammophon Gesellschaft produced the first long playing discs in Germany and confirmed their reputation for excellence. The first few were derived from 78 rpm discs (as were most initial releases by all the majors) and then from tape machines, the newest recording medium developed in wartime Germany. Looking through the list of singers, instrumentalists, ensembles and conductors, I see only one named artist who is still with us. The enclosed 140-page booklet contains, in addition to complete data of each recording, an interesting and informative history of the company’s growth over the years and full-page photographs of each artist at the time. I assume that I am not alone, when faced with a collection of this magnitude and significance, in sampling works or artists of personal interest. The first out of the box were the two Wagner discs, one with selected scenes from The Ring with Astrid Varnay’s Brunnhilde and Wolfgang Windgassen’s Siegfried winding down with the Immolation Scene conducted by Hermann Weigert, Varnay’s husband. In the 1950s the Swedish-born Varnay was at the very height of her powers and was in demand worldwide. As was Windgassen, a leading heldentenor of the 1950s and 60s. The other Wagner disc is devoted to Windgassen in notable arias from eight operas. Soprano Rita Streich’s disc is a treasure, a potpourri of arias from Mozart to Verdi concluding with Schubert’s Shepherd on the Rock. Paul Hindemith conducts the Berlin Philharmonic in the Jesus Christus Kirche in 1955 playing Symphony Mathis der Maler, The Four Temperaments and the Symphonic Metamorphosis on Themes by Weber. For many, these remain preferred versions. The 40-year-old, already world famous Ferenc Fricsay conducts the effervescent La Boutique Fantasque and Scheherazade with the RIAS Orchestra in 1955, 1956. The unique artistry of soprano Tiana Lemnitz (Marshallin), the soprano Elfrida Trötschel (Sophie) and mezzo Georgine von Milinkovic (Octavian) are heard in scenes from Der Rosenkavalier from Stuttgart conducted by Ferdinand Leitner. Dietrich Fischer-Dieskau was a young 24 in September 1949 when he made his debut recording for DGG singing Brahms’ Four Serious Songs, then excerpts from Hugo Wolf’s Italian Song Book in 1950/51 and Schumann’s Dichterliebe in 1957. I spoke today to a friend who regrets not hearing Polish pianist Halina Czerny-Stefanska live. She can be heard playing Chopin in 1956 (CD6). Also Monique Haas plays Ravel’s G Major Concerto, Le Tombeau de Couperin and Stravinsky’s Capriccio (CD14). Clara Haskil plays two Mozart concertos with Ferenc Fricsay conducting (CD16). Elly Ney plays four Beethoven sonatas, Pathétique, Moonlight, Appassionata and Op.110 (CD40). Other pianists who have their own CD are Stefan Askenase, Shura Cherkassky, Andor Foldes, Conrad Hansen, Wilhelm Kempff and Sviatoslav Richter. Other instrumentalists include David and Igor Oistrakh, Johanna Martzy, Bronislav Gimpel and others. Some mighty conductors recorded for DGG: Eugen Jochum, Karel Ančerl, Ferenc Fricsay, Wilhelm Furtwangler, Paul van Kempen, Ferdinand Leitner, Lorin Maazel, Igor Markevitch, Hans Rosbaud and Kurt Sanderling. Strong quartets include the Amadeus, Koeckert and Loewenguth. A few readers may remember the Don Cossack Choir, 20 of whose energetic performances ring out on CD7. The Mono Era 1948-1957 is collectively an historic document, a discerning choice of repertoire and performers recorded during the last decade of monaural before the stereo disc. DGGs mono recordings are models of clarity and reality. View the complete details of every track at arkivmusic.com/classical/album.jsp?album_id=2174287. The concerts given by George Szell and the Cleveland Orchestra were always memorable events, thanks to Szell who honed his orchestra to near perfection, the equal of the greatest conductor/orchestras in the world, notably Karajan/Berlin Philharmonic and Mravinsky/Leningrad Philharmonic. On many weekends in the 1960s we made our regular pilgrimage to Cleveland’s Severance Hall. I was not there on Wednesday July 13, 1966 to hear Isaac Stern, Leonard Rose and Eugene Istomin join the orchestra for the Beethoven Triple Concerto and Brahms Double Concerto. Doremi has resurrected a copy of the broadcast tapes of that concert and issued the concertos on a single CD (DHR8047). To hear these lauded musicians, soloists, conductor and orchestra live in these high voltage performances is illuminating, preferable in many ways to their recorded performances of the same repertoire recorded two years earlier with Ormandy and the Philadelphia Orchestra. I trust that there is more to come from Cleveland via Doremi. thewholenote.com May 1, 2016 - June 7, 2016 | 77
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!).
