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!
Beat by Beat | Classical
Beat by Beat | Classical & Beyond Schween and Fialkowska, Yoo and Wang PAUL ENNIS The venerable Juilliard String Quartet opens Music Toronto’s 45th season October 13 with a typically strong program - Bartók’s String Quartet No.1 and Beethoven’s String Quartets Op.95 “Serioso” and Op.59 No.1 “Rasumovsky.” And a first. In its 71st year, the quartet has hired a woman; cellist Astrid Schween has replaced Joel Krosnick, the quartet’s cellist since 1972, who was the last link to its original members. With characteristic elegance, the Juilliard introduced Schween by including her as the second cello in Schubert’s String Quintet in C, playing alongside Krosnick last year (violist Roger Tapping had done a similar thing in 2013, performing with outgoing violist Samuel Rhodes). A member of the Lark Quartet for two decades, Schween studied with Jacqueline du Pré for seven years during school holidays and summer breaks. She spoke about their relationship in a recent interview in Strings shortly after being hired by the Juilliard. “Jacqueline was one of my idols, and I had every recording she made. Her playing captivated my imagination, and I spent countless hours listening to these recordings and trying to work out what lay behind her extraordinary tone colour, long singing lines and sheer power. When I was actually with her, we would spend quite a bit of time listening to these recordings, analyzing her interpretations and discussing the secrets behind those wonderful colours. There was also time for plenty of stories and anecdotes. She had a wonderful sense of humour.” Janina Fialkowska opens Music Toronto’s piano section with an all-Chopin recital October 25. Winner of the first Arthur Rubinstein International Master Piano Competition in 1974, Fialkowska went on to be mentored by Rubinstein who helped her establish an international career. Born to a Canadian mother and a Polish father, her natural affinity for Chopin has long been apparent. In a Music Toronto masterclass at Mazzoleni Hall, October 29, 2014, she had much to say about her relationship to her countryman. “Chopin didn’t wear his heart on his sleeve,” she told one of the RCM students. “Sing! as if you were a great singer,” she continued. “In Chopin, never shorten a dotted note; if anything elongate it.” “Don’t eat all the chocolates in the box at once,” she said to a student whose performance had no shape and too much rubato, making it self-indulgent; she went on to help him shape the piece by emphasizing its long lines and making it sound spontaneous and simple. She mentioned that Rubinstein was very intellectual; his goal was to make everything sound simple and natural. She revealed that he would put down the soft pedal when he played Chopin so he could play louder and she noted Rubinstein’s great sense of rhythm, especially in the Mazurkas (three of which she will be performing in the Jane Mallett Theatre). Fialkowska mentioned that Liszt said that Chopin rubato was like a tree in the forest with the trunk barely moving and the leaves fluttering in the breeze. There will be ample opportunity to see these precepts in action in her varied program that includes a Nocturne, an Impromptu, a Ballade, the Polonaise Fantasie, two Waltzes, two Scherzos and the Op.50 Mazurkas. (Fialkowska performs the same recital for the Kitchener-Waterloo Chamber Music Society on October 23 and gives a masterclass at Mazzoleni Hall the morning of October 26). Esther Yoo. BBC New Generation Artist, Korean-American Esther Yoo was 16 when she became the youngest prizewinner of the Sibelius Violin Competition in 2010. Two years later she won a prize in the Yuja Wang Queen Elisabeth Competition. Vladimir Ashkenazy, who conducted her Deutsche Grammophon recording debut of the Sibelius and Glazunov violin concertos, said she was “without any affectations” in a YouTube video preview of that recent CD. On October 8 and 9 she joins the TSO under the baton of Karina Canellakis (the 2016 Georg Solti Conducting Award winner) whose exuberant conducting has been celebrated over the last two years when she was assistant conductor to the Dallas Symphony. She leads the TSO in Mozart’s thrilling Marriage of Figaro Overture and Beethoven’s underrated Symphony No.4. Yoo is the soloist in Tchaikovsky’s ever-popular uber- Romantic Violin Concerto. Yoo grew up in a musical household, took up the piano at four and was “really inspired by music from a young age,” she said in a BBC Radio 3 YouTube post. “The most important thing is that you love and are passionate about what you choose to do,” she said. “I think being exposed to a lot of different activities, be it in culture or in studies or in sports, it all comes together to inspire you and to help you grow as a person and all of that reflects in your playing and in your music, so to be exposed to many different opportunities and experiences is really important.” Yuja Wang. Yuja Wang, the 29-year-old, Beijing-born pianistic marvel, turns her sharp mind and impeccable technique to Bartók’s haunting and complex Piano Concerto No.3 when she makes her fourth appearance (and seventh overall in Toronto) with the TSO since 2011. Krzysztof Urbański returns to the TSO as guest conductor to lead the orchestra in Grieg’s Peer Gynt Suite No.1 and Dvořák’s evergreen Symphony No.9 “From the New World.” Wang is known for her unerring accuracy, prodigious memory, consummate musicianship, slinky dresses and four-inch heels. According to Janet Malcolm in the September 5, 2016, issue of The New Yorker, she may be undergoing a kind of midlife crisis, one which has led her to new repertoire away from the Romantic Russians that brought her early fame. When Malcolm asked Wang’s close friend Gary Graffman, the 87-yearold former head of the Curtis Institute where Wang studied, how Wang compared with the other prodigies at Curtis, he said, “She was remarkable among remarkable students. She didn’t play like a prodigy. She played like a finished artist.” In an interview with Michael Enright for CBC Radio’s The Sunday Edition broadcast on June 14, 2013, she spoke about being “very surrounded by music in her childhood.” Her father was a percussionist, her mother a dancer. The first thing she remembered hearing was Tchaikovsky’s Swan Lake; she began piano at six. She talked about virtuosity being a tool for the music: “I never think of technique. I failed if the audience pays attention to how fast I can play or how powerful I can play because in the end I’m trying to portray the music’s character, the mood, the atmosphere and also the logic of how the composer is structuring the piece. All of that is a completely different level of how to listen to music rather than how fast can one play.” Enright commented on her small hands, wondering if they could stretch an octave. Wang told him they can stretch a tenth on the keyboard and that her thin fingers (which can fit between the black keys) gave her great accuracy, though occasionally in big Russian pieces, she would need more arm weight to compensate. Early in 2014, Yang sat down at the piano in conversation with LIVING THE CLASSICAL LIFE EPISODE 14 18 | October 1, 2016 - November 7, 2016 thewholenote.com
MEDICI.TV Living the Classical Life (available on YouTube). As she answered questions she casually and effortlessly played excerpts from Rachmaninoff’s Paganini Variations and Concerto No.3, as well as Prokofiev’s Concerto No.3 and Art Tatum’s arrangement of Tea for Two. She said that once she’s learned a piece she no longer practises it: “Just keep it as it is, just not touch it, see what kind of magic I can do with it on stage.” Then she played parts of Chopin’s Waltz Op. 64 No.2, the first piece she performed in public; the Gluck-Sgambeti Melodie dell’ Orfeo from Orfeo ed Euridice Act 2; and Liszt’s arrangement of Schubert’s Gretchen am Spinnrade. “It’s the emotion of the music of those pieces that catches me so much; I feel like I own those pieces…Life and music and what I do has to be intermixed, has to be together. Otherwise I just feel like I’m not alive, like I’m wasting my time. Even though I love sauna, tanning, shopping, movies.” (She laughs.) Denis Matsuev. Winner of the 1998 International Tchaikovsky Competition at age 23, virtuosic Russian pianist Denis Matsuev makes his third Koerner Hall appearance under the Show One banner on October 15. This recital nicely underlines Show One’s string of Tchaikovsky prize winners which began earlier this year with a unique joint concert by Lucas Debargue and fellow 2015 Tchaikovsky runner-up, Lukas Geniušas, Denis Matsuev April 30, and which continues with the 2015 Gold Medallist, Dmitry Masleev, the newest Russian virtuoso, at Koerner January 28, 2017. Just announced! Marc-André Hamelin only concert in Toronto this season. Thursday, March 23, 2017 at 8 pm Haydn, Feinberg, Beethoven, Scriabin, Chopin Holiday sale pricing from October 1st to December 31st General sale from January 1st, 2017 Full-time students of any age – accompanying non-student FOR THE It’s no wonder that Matsuev is back so soon; his recital on January 30, 2016, was ecstatically received. The enthusiastic, large Russian audience component made for a totally different experience than the usual Koerner gathering. Matsuev was presented with an enormous bouquet of flowers just before intermission, four bouquets after the concert, which included the pianist signing an autograph, two more bouquets after the first encore (Liadov’s charming The Musical Snuff Box) and one more autograph after the second of four encores. The fourth, in the style of Kapustin or Earl Wild, was Matsuev’s scintillating version of Ellington’s Take the A Train. The January recital began with Schumann’s Kinderszenen (Scenes from Childhood,) suitably small-scale and wonderfully understated where appropriate, followed by Schumann’s Kreisleriana, with an emphasis on lyricism (lovingly played). After intermission, a selection of Rachmaninoff’s Études Tableaux Op.39 preceded Rachmaninoff’s Sonata No.2. The whole evening seemed to have been a warm-up for the latter’s profusion of melody and technique set off by a simple lyrical phrase. Matsuev fell into the sonata’s beginning almost before he sat down, like casually plunging into the deep end of the pool. It was bravura playing at its finest. There will be more Schumann (Symphonic Études) in the October 15 recital, as well as Beethoven’s euphoric Op.110, Liszt’s wildly popular Mephisto Waltz No.1, Tchaikovsky’s Meditation Op. 72 No.5 and Prokofiev’s dramatic Sonata No.7. It’s a major program by a major artist. The Isabel. Russian pianist Georgy Tchaidze, 2009 Honens International Piano Competition First Prize Cathedral Bluffs SYMPHONY ORCHESTRA Norman Reintamm Artistic Director/Principal Conductor 1. saturday november 12 8 pm sEasOn OPEnER 2. saturday december 17 8 pm acclaimed pianist VaLERIE TRYOn TRYPTYCH COnCERT & OPERa 3. saturday February 11 8 pm featuring the critically-acclaimed TRYPTYCH COnCERT & OPERa 2016-2017 Season 4. saturday March 11 8 pm Bruckner Symphony no. 4 in E flat major Tchaikovsky Suite from Swan Lake Beethoven Leonore Overture no. 3 Mozart Piano Concerto in C, K.467 Menotti Amahl and the Night Visitors Puccini Capriccio Sinfonico Tchaikovsky Elegy for Strings Puccini Suor Angelica Fauré Requiem in D minor, op. 48 Mozart Requiem in D minor UnIVERsITY OF TOROnTO sCaRbOROUGH CaMPUs COnCERT CHOIR saInT JOsEPH’s R.C. CHURCH PaRIsH CHOIR (Hamilton) and GRand RIVER CHORUs (Brantford) 5. saturday May 27 8 pm sEasOn FInaLE featuring Canada’s baLLET JÖRGEn presenting favourites from ballets such as Swan Lake, Sleeping Beauty and other well-known masterpieces. Subscribe Today & Save! cathedralbluffs.com | 416.879.5566 thewholenote.com October 1, 2016 - November 7, 2016 | 19
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!).
