Views
3 years ago

Volume 22 Issue 1 - September 2016

  • Text
  • September
  • Toronto
  • Jazz
  • October
  • Festival
  • Symphony
  • Musical
  • Orchestra
  • Theatre
  • Quartet
  • Volume
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.

well-received TSM

well-received TSM recital at Koerner Hall, is the mezzo soloist alongside Women of the Amadeus Choir, Women of the Elmer Iseler Singers and Toronto Children’s Chorus. Coincidentally, I was recently given a package of Mahler DVDs produced and directed by Jason Starr, a prolific maker of dozens of video and films from classical music and modern dance performances to documentary profiles of artists and cultural issues. He began his Mahler odyssey in 2003 with a splendid deconstruction of what Mahler himself called “a musical poem that travels through all the stages of evolution.” What the Universe Tells Me: Unravelling the Mysteries of Mahler’s Third Symphony, Starr’s impressive 60-minute film, intercuts a performance by the Manhattan School of Music conducted by Glen Cortese, with analysis by baritone Thomas Hampson, scholarly talking heads like Henry-Louis de La Grange, Donald Mitchell, Peter Franklin and Morten Solvik and timely shots of the natural landscape, all in the service of furthering our understanding of Mahler’s vision. “Imagine a work so large that it mirrors the entire world,” he said. How Schopenhauer and Nietzsche figure into Mahler’s mindset, the beginning of the cosmos, the oboe as the guide to the beauty of nature in the second movement (its notes illustrated by flowers in a high Alpine valley), are just a few examples of the myriad of details Starr and his methodical examination of this massive masterpiece reveal. Watching it (and its extras) will enhance my enjoyment of the TSO’s upcoming concert. The same coterie of Mahlerians turn up in Starr’s most recent films completed in 2015: Everywhere and Forever: Mahler’s Song of the Music at Metropolitan 2016-2017 Season Highlights Music at Metropolitan Friday, October 28 at 9pm Phantoms of the Organ – our annual Spooktacular! Co-sponsored by the Toronto Centre, Royal Canadian College of Organists. Friday, Nov 11 at 7:30pm & Saturday, Nov 12 at 2pm & 7:30pm Oliver! – the celebrated musical for all ages. Friday, Feb 10, 7:30pm The Mystery of the Partimento: Secrets of Improvisation in Renaissance and Baroque Music. Lutenists Lucas Harris and Benjamin Stein, members of Rezonance Baroque Ensemble, and others. Good Friday, Apr 14 at 7:30pm Music for Good Friday: Motets by Claudio Monteverdi; Eternal Light – a Requiem by Howard Goodall ; music by Daley, Martin and others. Patricia Wright conducts The Metropolitan Festival Choir, soloists, and instrumental ensemble. Saturday, May 6 at 7:30 pm Marg and Jim Norquay Celebration Concert Jordan Scholl, baritone and Lesley Bouza, soprano Sunday, May 28 at 1:30 pm A Celebration of Canada! Join Metropolitan musicians in a celebration of Canada’ s 150th Metropolitan United Church 56 Queen Street East (at Church Street), Toronto Tickets: 416-363-0331 (ext. 26) www.metunited.org Earth and For the Love of Mahler: The Inspired Life of Henry-Louis de La Grange. Again Starr’s thoroughness, cinematic touches and attention to the biographical, cultural and philosophical context are invaluable for our understanding of the Song of the Earth. Since he first heard Bruno Walter conduct Mahler’s Ninth Symphony in 1945, “the symphonies of Mahler have become a world for me which I’ve never tired of exploring,” says Mahler biographer de La Grange. From the medina of Marrakech to a convent in Corsica, Toblach in South Tyrol and the Mahler Mediatheque in Paris, Starr follows de La Grange (now 91) over several years, bringing to light his passion for life and music. “Every time I hear a work of Mahler, I think I hear something I’ve never heard before,” he said. Anecdotes by Mahler’s granddaughter Marina, Boulez (“Transformation of Henry-Louis’ personality by Mahler gives him authority on Mahler.”), Chailly, Eschenbach and Hampson add to the pleasure of this essential document. QUICK PICKS Sept 12: Trailblazing cellist Matt Haimovitz brings his new Overtures to Bach to the intimate space of The Sound Post for a recital featuring commissioned works by Philip Glass, Du Yun, Vijay Iyer, Roberto Sierra, Mohammed Fairouz and Luna Pearl Woolf, each of which precedes a different first movement Prelude from each of Bach’s six cello suites. Sept 14: Haimovitz brings the same program to the Kitchener- Waterloo Chamber Music Society (KWCMS). Among other performers in the Music Room of the indefatigable Narvesons this month are French cellist Alain Pierlot and pianist Jason Cutmore on Sept 25 in works by French composers (including sonatas by Debussy and Saint- Saëns). Sept 28: French pianist Alain Jacquon makes his KWCMS debut in a program of Sibelius, Ravel and Nazareth. Oct 2: Jethro Marks, principal violist of the National Arts Centre Orchestra, offers Schubert, Mendelssohn and a Beethoven violin sonata (transcribed for viola), with pianist Mauro Bertoli, currently artist-in-residence at Carlton University. Sept 17: Stewart Goodyear takes a trip down the QEW to open the Hamilton Philharmonic Orchestra’s new season with Brahms’ first major symphonic work, the formidable Concerto No.1 in D Minor Op.15. Conductor Gemma New completes the evening with Brahms’ friend and patron, Schumann, and his visionary Symphony No.4. Sept 17: Owen Sound’s Sweetwater Music Festival “Virtuosity” concert features clarinetist James Campbell, violist Steven Dann, percussionist Aiyun Huang, violinist (and artistic director) Mark Fewer and the Gryphon Trio in a varied program that spotlights a new commissioned work by David Braid. Sept 18: The same performers wrap up the weekend festivities with “A Classy Finish” which includes Prokofiev’s Overture on Hebrew Themes Op.34 and Beethoven’s Piano Trio in D Major (“Ghost”) Op.70 No.1. Sept 18: For any WholeNote readers who may be in P.E.I. on the third weekend of the month, don’t miss Ensemble Made In Canada’s performance of piano quartets by Mahler, Bridge, Daniel and Brahms (No.1 in G Minor Op.25), part of the Indian River Festival. Sept 25: Bassoon marvel Nadina Mackie Jackson is joined by string players Bijan Sepanji, Steve Koh, Rory McLeod, Bryan Lu and Joe Phillips for her “Bassoon Out Loud” season opener; works include Vivaldi’s Concerti Nos.14 & 27, Lussier’s Le Dernier Chant d’Ophélie Op.2 and works for solo strings. Sept 30: TSO concertmaster Jonathan Crow shows his versatility as he joins with fellow TSO members, principal violist Teng Li, associate principal cellist Winona Zelenka and COC Orchestra concertmaster Marie Bérard (who comprise the Trio Arkel) to play Ligeti’s early String Quartet No.1 “Métamorphoses nocturnes.” Mozart’s masterful Divertimento in E-Flat Major K563 completes the program. Sept 30, Oct 1: Conductor Edwin Outwater leads the Kitchener- Waterloo Symphony in two bulwarks of Romantic music: Rachmaninoff’s Piano Concerto No.3 (with Natasha Paremski, whose temperament and technique have been compared to Argerich) and Tchaikovsky’s Symphony No.4. Paul Ennis is the managing editor of The WholeNote. 24 | September 1, 2016 - October 7, 2016 thewholenote.com

SNAPSHOT Cecilia String Quartet at Mooredale U of T Faculty of Music quartet-in-residence, the celebrated Cecilia String Quartet, opens Mooredale’s 2016/17 season September 25 with works by Haydn, Mendelssohn and Emilie LeBel. Second violinist Sarah Nematallah and cellist Rachel Desoer graciously and eloquently answered a few questions about the repertoire they will be playing in their concert at Walter Hall. I hope you enjoy their insights and that the the answers will enhance your experience of hearing them play. WN: Please tell me about the qualities of Haydn’s Op.33 No.1 that appeal to you. Sarah Nematallah: I love the elusive nature of this work. There are so many moments where Haydn begins to lead you down one path and then immediately steers you in another direction - we feel momentary comfort that is quickly shaken, sweetness that suddenly turns sour, aggression that bursts into joy. I feel that this quality makes for an edge-of-your-seat experience! WN: How does recording a work, for example the Mendelssohn Op.44 No.1, affect your subsequent performance of it? SN: The amount and type of detail one must consider in preparing the piece and working in the recording sessions is immense. It’s intense work, but rewarding in its own way. After you’ve been through that experience, performing the piece feels very freeing - it allows you to live through the work along with the audience again, as opposed to solidifying something concrete. The experience of performing the work has a new dynamism to it that is really exhilarating. WN: Does recording a piece focus your attention on it more than playing it in concert? Have your ideas of the piece changed or evolved since it was recorded? SN: Recording a work requires a real commitment to one particular interpretation NEXT UP AT MOOREDALE ●●Mooredale Concerts’ season continues November 4 with “Noel Coward: A Talent to Amuse,” featuring singers Monica Whicher, Norine Burgess, Ben Butterfield and Alexander Dobson. of a piece, and so performers must feel confident that this interpretation is something that they feel will have merit for decades to come. However, after the recording process is done, one is free to return to explore and experiment again. Sometimes it is hard to let go of the interpretation you recorded, but over time you realize that music is a fleeting artistic form that is constantly changing, and embracing that idea can give rise to interpretations you may not have thought possible in the past. WN: How did you come to program Taxonomy of Paper Wings by Emilie LeBel? Rachel Desoer: This piece by Emilie is part of our large project this season of Celebrating Canadian Women Composers. Over the past two years we have commissioned four outstanding women composers to write string quartets for us and this season it is all culminating. We will be presenting all four pieces at the 21C Festival in May and looking towards recording all the works. We chose Taxonomy of Paper Wings for this concert for two reasons. First, it’s a great opportunity to present Emilie’s work in her hometown. Second, her work has a calmness and a subtlety we thought would contrast greatly and provide an oasis in the middle of this busy program! Paul Ennis NEXT UP FOR THE CECILIAS ●●Next up for the Cecilia String Quartet, apart from their duties at UofT, are concerts in Thunder Bay, Troy, N.Y., Hamilton and Washington, D.C. thewholenote.com September 1, 2016 - October 7, 2016 | 25

Volumes 21-25 (2015-2019)

Volume 24 Issue 8 - May 2019
Volume 24 Issue 7 - April 2019
Volume 24 Issue 6 - March 2019
Volume 24 Issue 5 - February 2019
Volume 24 Issue 4 - December 2018 / January 2019
Volume 24 Issue 3 - November 2018
Volume 24 Issue 2 - October 2018
Volume 24 Issue 1 - September 2018
Volume 23 Issue 9 - June / July / August 2018
Volume 23 Issue 8 - May 2018
Volume 23 Issue 7 - April 2018
Volume 23 Issue 6 - March 2018
Volume 23 Issue 4 - December 2017 / January 2018
Volume 23 Issue 3 - November 2017
Volume 23 Issue 2 - October 2017
Volume 23 Issue 1 - September 2017
Volume 22 Issue 9 - Summer 2017
Volume 22 Issue 8 - May 2017
Volume 22 Issue 7 - April 2017
Volume 22 Issue 6 - March 2017
Volume 22 Issue 5 - February 2017
Volume 22 Issue 4 - December 2016/January 2017
Volume 22 Issue 2 - October 2016
Volume 22 Issue 1 - September 2016
Volume 21 Issue 9 - Summer 2016
Volume 21 Issue 8 - May 2016
Volume 21 Issue 6 - March 2016
Volume 21 Issue 5 - February 2016
Volume 21 Issue 4 - December 2015/January 2016
Volume 21 Issue 3 - November 2015
Volume 21 Issue 2 - October 2015
Volume 21 Issue 1 - September 2015

Volumes 16-20 (2010-2015)

Volumes 11-15 (2004-2010)

Volumes 6 - 10 (2000 - 2006)

Volumes 1-5 (1994-2000)