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.
with full documentation
with full documentation of the evening in a very fine cloth-covered hardcover edition, 24.5cm X 15.5cmX 2.3cm. Inside are two CDs and a Blu-ray disc containing the complete concert in HD audio plus an HD video of the event with choice of stereo or 5.1 surround sound. On the same Blu-ray disc are bonus videos including full documentaries, Claudio Abbado in Berlin – The First Year and Members of the Berlin Philharmonic Remember Claudio Abbado. There are lots of discussions, rehearsals and human interest events plus the reason Abbado had to wait eight months after assuming the post to receive a contract. A personal code to download high resolution audio files is also included. A well-produced 56-page multilingual booklet the size of the package contains information about the two works on the program and how they are tied together. There are interesting articles with many colour photographs. Also there are the names of the personnel of the orchestra in May 2013. Bruce Surtees MODERN AND CONTEMPORARY Schoenberg – Pierrot Lunaire; Max Kowalsky – Pierrot Lunaire Ingrid Schmithüsen ATMA ACD2 2734 !! Arnold Schoenberg’s celebrated 1912 song cycle Pierrot Lunaire is justly regarded as a masterpiece of his mid-period atonal works. Don’t let the bogeyman of atonalism scare you away; this is an extremely compelling work that exudes an atmosphere of exuberance and playfulness. Originally conceived to be performed by an actress and an ensemble of five instruments, the vocal quality that Schoenberg calls for in this multifaceted jewel of a work is unique: not quite sung, not quite spoken, but somewhere in between. The texts consist of 21 poems by the Belgian symbolist Albert Giraud in the German transliteration by Otto Erich Hartleben published in 1892. Many others have set these texts to music, including the persecuted composer and lawyer Max Kowalski (1882-1956), whose cycle of 12 of these poems included here were conceived and published in the same year as Schoenberg’s. Kowalski’s charming and supple settings are cast in a neo-romantic style and are conventionally sung. Having presented the work some 70 times during her career, it’s fair to say that soprano Ingrid Schmithüsen has become the very embodiment of Pierrot and delivers an admirably nuanced account of Schoenberg’s opus. In most cases this complex work involves a conductor; here however, it is clear that the soloist is calling the shots (and incidentally owns the recording copyright). This emphasis on the voice no doubt explains the frustratingly recessed sound of the ensemble, which left me pining for the vivid instrumental presence in just about every other recording I’m familiar with, notably the outstanding 1971 LP by Jan DeGaetani. By contrast, the Kowalski song cycle with pianist Brigitte Poulin is perfectly balanced. Daniel Foley Noravank: Petros Shoujounian – String Quartets 3-6 Quatuor Molinari ATMA ACD2 2737 !! Composed to mark the centenary of the Armenian genocide, Noravank’s title is derived from a homeland monastery that was Petros Shoujounian’s inspiration. Its 14 sections, divided into string quartets of three, three, three and five movements, are symbolically named after rivers and are based on liturgical chants. Quartet No.3 was the most affecting for me, through its tiny echoes of melodies and treatments heard in Morricone’s Gabriel’s Oboe and Pärt’s Spiegel im Spiegel; it concludes with the provocative Dzoraget. The contradictions of Quartet No.4’s depressive second movement, the energetic third and Quartet No.5’s lamentoso first movement brought to mind the power of nature and the current plight of evacuated Fort McMurray folks – if that’s not the musical equivalent of theological proof-texting. The balance of Quartet No.5 and all of No.6 more overtly reflect the influence of eastern folk songs, both in the keys and the lilts they comprise. Another memory of song, from Chopin’s “Raindrop” Prelude in D-Flat Major No.15 Op.28, is heard in the onomatopoeic burbling waters of the Vedi. This CD was suggested to me, a Pärt fanatic, as a possibly similarly contemplative recording. While these aren’t tracks for mindful meditation, there is an introspective quality to all the movements. Maybe the invoked theme of migration is apt, after all: fires, oppression, the liturgical life – these all involve movement and change. But this introvert was soothed rather than discomfited via the talent of the Quatuor Molinari, who commissioned this work that is ultimately about renewal. Fine liner-note editing and the eponymous cover photograph round out a very marketable product. Vanessa Wells Finding a Voice: The Evolution of the American Sound Walden Chamber Players Independent (waldenchamberplayers.org) !! This new disc from the Walden Chamber Players features compositions which might be described as the linking species of the American music family tree. Ably performed here are works by little-known composers (Marion Bauer 1882-1955), lesserknown works by composers well known (Aaron Copland’s Threnodies), and works by modern composers who write close enough in time to us that they might remain in our blind spot (Ned Rorem). Rorem is best-represented here, and rightfully so – after all, he is a still-living and underappreciated American composer whose healthy sense of deference to American musical heritage is best exemplified by his Ives-tinged The Unquestioned Answer (2002). But it is actually Virgil Thomson’s ghost that looms largest over this recording. In the middle of the 20th century, Thomson achieved more infamy as cantankerous critic than fame as a composer. As far back as 1944, he took aim at the cult of the warhorse, noting that “the enjoyment and understanding of music are dominated in a most curious way by the prestige of the masterpiece.” In that same essay, he wrote, “this snobbish definition of excellence is opposed to the classical concept of a Republic of Letters.” These words could serve as this disc’s manifesto; it demands that we re-evaluate these works which might have otherwise been lost to the murk of history. They may not be capital-M masterpieces (whatever that actually means), but they are nonetheless worth hearing. Elliot Wright WAM Michael Finnissy; Michael Norsworthy New Focus Recordings FCR157 (newfocusrecordings.com) ! ! While it may not move you to tears or laughter, the music of Michael Finnissy should hold you in a kind of rapt fascination, like an elaborate mechanism with multi-coloured parts moving according to mysterious laws. This new release features American clarinetist Michael Norsworthy. The composer provides the piano accompaniment; also performing are violinist William Fedkenheuer and the New England Conservatory Wind Ensemble. Brief liner notes by the composer offer some helpful information: his substantial Clarinet Sonata unfolds calmly, the piano part presenting a cantus firmus derived from
a late Beethoven piano sonata (Op.110). There is no obvious link, but each bar of the original is presented in retrograde (but presumably in the original order) while the clarinet line swans about lazily above. The second track, for E-flat clarinet, two pianos and two bass drums, uses a chance element: though the material is defined, its synchronicity is not. The E-flat colour is shocking; one at first wonders if Norsworthy has forgotten his better reeds at home. Track three introduces cat screeches (yes, literally) and still more chance elements. I do believe my allergies were acting up so I found it hard to concentrate. I kept waiting to sneeze at the next feline interjection. As cute as the kitties are, I preferred the jazzy final track with wind ensemble: Giant Abstract Samba is fun. Just as Finnissy recomposes Beethoven earlier, on the title track his musical source is Mozart. He obviously has no fear of vengeful ghosts seeking him out. WAM moves the performers on- and offstage, a theatrical effect somewhat diluted on record. You’ll hear the violin and later the clarinet at a distance at different moments. I have no idea what it all means, but it’s…fascinating. Max Christie Paths Become Lines Sirius Quartet Autentico Music AMCDA00004 (autenticomusic.com) !! Far from being a spin-off or a clone of the Kronos Quartet, the Sirius Quartet is a fiercely – individually and collectively – creative ensemble that explores an aural landscape with no definable borders. Violinists Fung Chern Hwei and Gregor Huebner, violist Ron Lawrence and cellist Jeremy Harman are composers who worship at the altar of creativity. These are musicians who enter the very grain of the wood of their instruments, emerging after being subsumed in the mysterious vibrations of the air within. Wave after wave of sound forms rippling tonal colours that come alive swathed in the timbres of their instruments. Each time their music is heard one can’t help being impressed by their devilishly good virtuosity. The present recording offers ten classic selections – including a four-part suite – from recent, original repertoire and also furnishes further evidence of the development of the ensemble as they mine an impossibly deep world where jazz meets the classics. Alongside the high spirits of Huebner’s Racing Mind, for instance, a profound contemplative tone is struck in Huebner’s composition, The Wollheim Quartet, a remarkable piece of visceral drama as well as sweetness of tone, with superbly poised rhythm in its Presto movement. Harman’s Paths Become Lines bursts out in expansive chords and heaving with thick-textured agitation before the music builds into a heated climax. And that is just the beginning of a disc full of excitement and drama. Raul da Gama Tower Music – Bertolozzi Plays the Eiffel Tower Joseph Bertolozzi Innova 933 (innova.mu) !! American composer/percussionist Joseph Bertolozzi’s Tower Music is the culmination of a ten-year project to “play” Paris’ Eiffel Tower using various percussion mallets, etc. The over 10,000 samples recorded live by contact microphones were then reduced to 2,800 descriptively named sounds which he then used to compose the nine exciting tracks. Bertolozzi stresses that only tones made by playing the actual surfaces of Eiffel Tower are heard, and that no added effects were utilized. The to-be-expected rhythmic percussive sounds are heard on A Thousand Feet of Sound and the jump-up-and-boogie grooves of Tower Music. A big surprise is the range of pitches and dynamics comprising the earworm melodies of the lilting waltz Elephant on the Tower. Especially intriguing is Evening Harmonies, in which the composer abandons rhythmic and melodic compositional traditions and lets the Tower play for its own sound sake. The rich sonorities and soundscapes of this composed yet free-improvisational-feel-piece turn the Eiffel Tower into a musical instrument of inherent deep tone, abrasive power and wide dynamic range. An informative bonus track has Bertolozzi explaining the ins and outs of the recording, production and details of this project. This is more than just a raised eyebrow joie de vivre sound installation. Bertolozzi is a sensitive musician attuned to quality sound production and dynamic rhythmical nuances. His compositions are concise, clear and accessible. There are plans for a future live performance. For now, listen and enjoy! Tiina Kiik JAZZ AND IMPROVISED MUSIC Full Circle Debbie Fleming Independent (debbiefleming.ca) !! I need to confess right off the top that I’m a sucker for a Bacharach-David song. I consider them to be one of the top pop songwriting duos in an era when songwriting was king and duos like Lennon-McCartney, Elton John & Bernie Taupin and so many others were putting out great music. So when veteran Toronto singer Debbie Fleming announced she was working on an album of Bacharach- David covers I was pumped. Fleming’s background as an in-demand studio and group singer equips her not only with strong vocal skills but also with arranging expertise. I’m also a sucker for covers that put a twist on the original song. (Otherwise why not just listen to the original?) So the takes on these songs – several of them arranged by Mark Kieswetter, who also plays keyboards on the album – feel fresh. Standout tracks for me are his arrangement of I Say a Little Prayer and Fleming’s arrangement of The Look of Love. The latter has a Gene Peurling-esque vocal accompaniment with the stunning voices of Suba Sankaran, Dylan Bell and Tom Lillington (who, along with Fleming, make up the a cappella singing group The Hampton Four). Peter Mueller’s searing guitar solo on Anyone Who Had a Heart adds to the epic rock ballad feel of the piece. The more laid-back (from the original), slightly bossa-ish feel of Promises, Promises is enhanced by percussion from Art Avalos and Ted Quinlan’s lovely nylon-string guitar playing. All in all this is a finely crafted album with a lot of heart and sensitive, solid work from everyone involved. Cathy Riches Feelings of Affection Sam Broverman Independent (brovermusic.com) !! With this release, exquisite vocalist/ composer Sam Broverman has continued his theme of presenting the work of the world’s finest tunesmiths. Broverman has assembled a fine quintet, and selected five superb standards as well as one excellent original tune, I Want Everybody to Love Me. Skilled keyboardist/arranger Mark Kieswetter serves as producer here; also present are John MacMurchy on sax, Tony Quarrington on guitar, Jordan O’Connor on bass and Ernesto Cervini on drums. Broverman’s rendition of On A Clear Day is a huge standout, and his sumptuous baritone (reminiscent of the late, great Mark Murphy) soars and swings with both intimacy and intensity, all the while honouring this marvelous Lerner and Lane Broadway title tune with his flawless interpretation and adherence to the original melodic line. In fact, happily, the listener will find no uninformed, empty-caloried and gratuitous scat singing on this recording. Also of note is Broverman’s take on Michael Franks’ Underneath the Apple Tree, which is languid, bluesy and sexy, displaying a range thewholenote.com June 1, 2016 - September 7, 2016 | 83
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!).
