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.
way Bondy presents the
way Bondy presents the members of the chorus fully involved in the human drama. That drama centres on jealousy: Hercules returns from the sack of Oechalia with Iole, the beautiful princess of that land, as his captive. Iole is hostile to Hercules because he destroyed her city and killed her father. At the beginning of the oratorio she sings an aria in which she expresses the wish that she was a simple village girl. But there is an ambivalence here which the production neatly captures: a ring and a necklace appear. These are clearly gifts from Hercules. Iole accepts them and wears the ring for the rest of the duration of the oratorio. Joyce DiDonato is brilliant as Dejanira, Hercules’ threatened wife, and her singing is complemented by the lyrical voice of Ingela Bohlin as Iole and the dark mezzo of Malena Ernman as the counsellor Lichas. Hans de Groot Johann Adolf Hasse – Artaserse Fagioli; Prina; Schiavo; Giustiniani; Giovannini; Bove; Orchestra Internazionale d’Italia; Corrado Rovaris L/R Dynamic 37715 !! In the DVD of Leonardo Vinci’s Artaserse (Erato 2564632323), countertenor Franco Fagioli’s extraordinary vocal pyrotechnics as Arbace stole the show from his betterknown colleague, Philippe Jaroussky, in the title role. J.A. Hasse’s setting of the same libretto by Pietro Metastasio premiered exactly one week after the debut of Vinci’s version, in February 1730. Metastasio’s highly effective libretto was subsequently used by many other composers, including Gluck, Cimarosa and Paisiello. Arbace’s father, Artabano, has assassinated Persia’s king Serse (Xerxes). Arbace is accused of the murder, creating painful rifts within each pair of lovers: Arbace and Serse’s daughter Mandane, and Semira, Arbace’s sister, and Artaserse, Serse’s son. Artabano plots to murder Artaserse, the new king, but his villainy is exposed, the lovers are reunited and all ends happily. In this 2-DVD set from the 2012 Valle d’Itria festival, Fagioli again thrills as Arbace, with breathtaking coloratura runs. Also excelling in vocal expressiveness and agility are mezzosoprano Sonia Prina (Artabano) and richvoiced contralto Rosa Bove (Semira). Hasse’s emotion-laden ABA arias are augmented by a virtuoso aria from Vivaldi’s Motezuma, added to give Prina as Artabano an extra showpiece. There’s no resemblance to ancient Persia; the male characters wear gaudily bemedalled modern military uniforms. One annoyance: endlessly repeated cutaway views of Corrado Rovaris conducting from the harpsichord. Hasse’s Artaserse will please lovers of Baroque opera, superb singing and, especially, the growing contingent of fans of the amazing Franco Fagioli. Michael Schulman Beethoven – Missa Solemnis Arnold Schoenberg Choir; Concentus Musicus Wien; Nikolaus Harnoncourt Sony Classical 88985313592 !! The passing of Austrian conductor Nikolaus Harnoncourt earlier this year has left a tremendous void in the music world. An aristocrat, not only by birth (he was a direct descendant of the Habsburgs), but in his mind and soul, he was not only an original musical mind, a scholar and a great conductor, but a teacher and inspiration to the young. He had the uncanny ability to treat any piece of music like he had never heard it before, breathe new life into it and make his players and audiences feel enthusiastic and rejuvenated. Rehearsing Beethoven, which I saw him do, he became a giant and literally roared like a lion at some of the great outbursts, but he also had a wonderful sense of humour that made his young orchestra chuckle with laughter. He himself had problems with Missa Solemnis and came late to conducting this disputed masterpiece: “a religious work that combines war and redemption, horror and hope – a bizarre enough combination in the extremes to which Beethoven takes it” (Robert Levine). There haven’t been many recordings and very few successful ones. Most recently (2012) Harnoncourt conducted it at the Concertgebouw with modern instruments and a superb quartet of soloists (including our wonderful Gerald Finley), but here he is rejoined with Concentus Musicus Wien, a period instrument group he founded, for what he intended to be his last recording. Never happy with earlier accomplishments, this version is full of question marks, looking for new answers, new sonorities and it’s just another example of what he was all his life, constantly searching and never wanting to give up. So the quest continues…. Janos Gardonyi Brahms; Bruckner – Motets Tenebrae; Nigel Short Signum Classics SIGCD430 (signumrecords.com) !! Anton Bruckner and Johannes Brahms were very different in their Weltanschauung. Bruckner was a devout Roman Catholic; Brahms could be described as an agnostic. Their musical language too is very different but they clearly have one thing in common. They were both committed to the revival of religious music and both of them looked back to earlier traditions from Gregorian chant to J.S. Bach by way of Renaissance and early Baroque composers like Isaac and Schütz. Tenebrae is an English chamber choir founded in 2001 by Nigel Short and the late Barbara Pollock. Short is now the choir’s conductor: he was previously a member of the King’s Singers. The sound worlds of Brahms and Bruckner contrast in interesting ways and the two composers complement each other very well. The two halves are fairly evenly divided: there are eight motets by Bruckner here, mainly unaccompanied. The works by Brahms are more varied and many are given with organ accompaniment. They include the movement How lovely are thy dwellings from his German Requiem. I was initially surprised to find that it was sung in English but when I read that this was the translation in which the work was sung in London in 1873, I could see how the translation emphasizes the centrality of Brahms to 19th–century English musical life. The performances are bookended by two Aequale for three trombones by Bruckner, beautifully played. The choir’s discography suggests that much of its attention is given to contemporary music. But they have also recorded music by Berlioz and Fauré. This beautiful record confirms that they are equally at home with 19th-century repertoire. Hans de Groot Walter Braunfels – Lieder/Songs Marlis Petersen; Konrad Jarnot; Eric Schneider Capriccio C5251 !! Walter Braunfels was a highly esteemed composer of operas between the two world wars and was later renowned for his religious choral music. Yet owing to his ancestry (his grandfather had been born Jewish) Braunfels ultimately had the misfortune of having his professional career terminated and his music marked as “degenerate“ by the Nazis. Adding insult to injury, his late Romantic style fell into disfavour after World War II, a time when modernism was gaining a much stronger foothold. Hence, this disc of his complete lieder featuring baritone Konrad Jarnot and 62 | September 1, 2016 - October 7, 2016 thewholenote.com
mezzo-soprano Marlis Petersen with pianist Eric Schneider on the Capriccio label is a worthy means of righting past injustices. Braunfels had little interest in solo vocal music during his later years, so the works on this recording are all from the early part of his career, spanning a 30-year period from 1902 onwards. Staring off with the set of Sechs Gesänge Op.1, Jarnot offers a compelling and sensitive performance of these dark and brooding miniatures. Indeed, the term “miniature” seems to apply to most of the songs on this CD; only one reaches the four-minute mark while several are under a minute in length. Despite their brevity, these works are a wonderful study in contrasts. Petersen’s lyrical performance of the two versions of the Federspiel suites, each song a musical depiction of a bird, from the common nightingale to the more exotic wagtail – is all lightness and charm. Not surprisingly, certain songs exhibit influences of other composers, most noticeably Richard Strauss in the lushly romantic Herbstgefühl – and is that a bit of Brahms in Abbitte from the Lieder Op.4? Throughout the disc, Schneider handles the elegant piano writing with much finesse. While this CD may not feature the best of Braunfels’ music nor be the most ideal introduction, it does provide a degree of exposure to a composer whose music most decidedly warrants greater recognition. Richard Haskell Stephen Chatman; Tara Wohlberg – Choir Practice University of British Columbia Opera Ensemble; Nancy Hermiston; UBCSO; Jonathan Girard Centrediscs CMCCD 22616 (musiccentre. ca) !! Anyone involved in community choirs will appreciate this lighthearted parody of the personalities we both encounter and display during rehearsals; from establishing a pecking order amongst ourselves to our complicated relationships with music directors, for better or worse. Stephen Chatman, well familiar with the milieu, and his writing partner Tara Wohlberg exaggerate the dynamic hysterically in this one-act opera, premiered and recorded at the University of British Columbia. Under the direction of faculty members Nancy Hermiston and Jonathan Girard, the opera ensemble and instrumentalists clearly enjoy quite a lark with the performance, producing dissonant chaos, artless arpeggios and pursuing their own agendas with opinions on repertoire, with a liberal sprinkling of famous musical snippets from favourite pieces that serve as insider jokes for the audience as they recognize quotes from Mozart, Wagner and Philip Glass. Sexual innuendo and double entendre abound as well, in ridiculous manifestations with appearances from characters such as the clown, the diva, the belly dancer and the stutterer. Of course, eventually, out of the cacophony and bad behaviour, conductor “Willy Stroker” patiently coaxes out a harmonious and unified performance with the help of one of his more “visionary” choristers. Simple, unabashed fun and slapstick entertainment. Dianne Wells Carlisle Floyd – Wuthering Heights, An Opera in Three Acts Jarman; Markgraf; Mentzer; Rideout; Buck; Shelton; Florentine Opera Company; Milwaukee Symphony Orchestra; Joseph Mechavich Reference Recordings FR-721SACD (referencerecordings.com) !! In 1955, soprano Phyllis Curtin was the first Susannah in what would become Carlisle Floyd’s most performed opera. Floyd then composed an aria for Curtin’s New York recital, setting words of Cathy Earnshaw from Emily Brontë’s classic novel. The fervent aria, I’ve dreamt in my life, inspired the Santa Fe Opera to commission this full-length work, the aria appearing in the second of the opera’s three acts. In 1958, Curtin created the role of Cathy in Santa Fe and New York, yet this two-CD set is the opera’s first commercial release, recorded in concert in January 2015, with Floyd, in his 89th year, acting as artistic advisor. Wuthering Heights surely merits many more productions than it’s received in the past, with listener-friendly melodies leading to rhapsodic or powerful cinematic-style climaxes, supporting intensely dramatic characters and confrontations. Floyd’s self-written libretto omits the novel’s many chapters about Heathcliff’s childhood and later life, the opera ending with Heathcliff’s lament over Cathy’s death. Among the cast, only the bronze baritone of Kelly Markgraf as Heathcliff stands out, though to be fair, the poorly balanced “hybrid surround-sound” reduces the clarity and presence of all the voices, the orchestra often submerging the distant-sounding singers. The accompanying libretto is therefore essential for following the action. Nevertheless, this premiere recording should help realize Floyd’s hope, expressed in his booklet notes, that it “will result in new audiences here and abroad.” Michael Schulman Zachary Wadsworth – The Far West Lawrence Wiliford; Luminous Voices; Timothy Shantz Bridge Records 9466 (bridgerecords.com) The Far West opens with music evocative of Macmillan and Brickenden’s Celtic Mass for the Sea; in fact, not since that album have I heard a choral work that captures its subject with such well-curated and gut-punching text. This Choral Canada winner is an homage to victims of AIDS, and it’s both achingly beautiful and horrifyingly vivid in its imagery as it paints portraits of Tim Dlugos, its posthumous librettist, and stricken friends. Dlugos’ divinity training interweaves references from Bergman to AZT, so textual allusions to liturgical music and the Divine Office still match the different musical styles, such as the funereally resolved first movement, October, the expansive choral chords of Note to Michael, and the baroque-ish Heaven, latterly with lyrics from the Renaissance by George Herbert. Several times, the work evokes English staples, such as Parry’s I Was Glad or Fenton’s Veni Sancte Spiritus, and made me want to run back to my days of church choir with Tom Fitches. Themes of reconciliation, despair and resignation are conveyed alongside word play with homophones and synecdoche. The first two tracks, settings of poetry by Paul Laurence Dunbar and Christina Rossetti, are complementary introductions to the cantata. If this review is more about the texts than the music, it’s because the poetry absolutely slays the listener but, while the words are the stars in this piece, Zachary Wadsworth has composed a votive in The Far West, and Lawrence Wiliford and Luminous Voices shimmer throughout. Vanessa Wells CLASSICAL AND BEYOND Beethoven – Symphonies 1-9 Berliner Philharmoniker; Sir Simon Rattle Berlin Philharmoniker Recordings BPHR 160091 !! When setting out to listen to these new performances from Berlin one would reasonably expect to hear, yet again, the familiar, well-known sonorities of the Philharmonic in this basic repertoire. After all, with five complete cycles available with this orchestra directed by Herbert von Karajan and versions by Claudio Abbado and André Cluytens, we may be pretty sure what, with some interpretive differences, the timbre thewholenote.com September 1, 2016 - October 7, 2016 | 63
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!).
