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!
Beat by Beat | World
Beat by Beat | World View Culchahworks Celebrates Belafonte ANDREW TIMAR Every February I focus my column’s lens on Black History Month as it is musically celebrated in our midst. And with each year it becomes easier to assume that it has always been thus. It’s worth noting however that this is a relatively recent commemoration in our province, one with an evolving history. The City of Toronto became the first municipality in Canada to proclaim Black History Month in 1979 in recognition of “the past and present contributions that African Canadians make to the life of Toronto in such areas as education, medicine, art, culture, public service, economic development, politics and human rights.” Official provincial and national recognition of this aspect of cultural pluralism trailed far behind however. It wasn’t until 1993 that Ontario first proclaimed February as Black History Month citing as one of the reasons: “To mark the 200th anniversary of a law banning the importation of slaves into Upper Canada.” While people have been marking Black History Month throughout the province ever since, official status was not been granted until very recently. It was only last January that “Ontario passed legislation to formally recognize February as Black History Month on a continual annual basis,” according to the Ontario government website. The 2016 legislation “…gives Black History Month official status in law, ensuring that the uniqueness, vitality and continuing contributions of the Black community in Ontario will be celebrated for generations to come.” I want to start by focusing on a single theatrical production. It’s a show with strong Afro-Caribbean musical roots that resonate throughout popular culture. It showcases Canadian creators and performers interpreting the life and career of an iconic nonagenarian, equally known for his rich contributions to the commercial entertainment landscape of the second half of the 20th century and for his social-political activism. Harry Belafonte at 90: A Tribute Celebration February 28 at the Fleck Dance Theatre, Harbourfront Centre, Culchahworks Arts Collective presents “Harry Belafonte at 90: A Tribute Celebration,” sponsored by TD Bank Group. Featuring leading African Canadian talent, including jazz-and-blues diva Jackie Richardson, singers Jay Douglas and Darryl Huggins and Stratford actor David Collins, the show’s choreographer Melissa Noventa weaves the numerous thematic and performative strands together with movement and colour. Tribute Celebration’s writer, director, producer and music director is Andrew Craig. This prominent Toronto-based multi-instrumentalist, producer, composer, broadcaster and impresario is also the founder and artistic director of Culchahworks. Founded in 2013, Culchahworks is a not-for-profit arts organization that “aims to celebrate and proliferate compelling stories, principally drawn from the Caribbean- Canadian, African-Canadian and African-American cultural legacies, yet having universal resonance, through the arts. Historical, didactic and cutting-edge all at once, Culchahworks endeavours to entertain, educate and inspire a broad range of audiences, using all manner of traditional and new media.” It’s not easy to think of a living, successful entertainer with a more deeply held commitment and lengthy dedication to the cause of social justice and change than Harry Belafonte. The NYC-born African American has been at various times in his 60-plus-year career, a singer, actor, producer, and a leading international political and humanitarian activist who often challenged the power orthodoxy of the day. Craig’s chronologically driven narrative traces Belafonte’s nine decades in a tribute filled with music, theatre, dance and screenrole excerpts. Starting with his formative years in NYC and on the island of Jamaica, the show follows his rise to stardom in the 1950s with performances of some of his best-selling recordings including Matilda, Jamaica Farewell and Day-O (The Banana Boat Song). The latter song originated as a Jamaican work song. Mento elements were incorporated in Belafonte’s hit recording. These and several other records were highly successful commercially. The influence particularly of Belafonte’s early recordings on North American and European popular culture was immense. His Calypso (1956) is the first LP album to sell over one million copies, spending 31 weeks at number one on the recording industry Billboard charts. Belafonte received Harry Belafonte two Grammy Awards in the 1960s plus a Grammy Lifetime Achievement Award in 2000 for his outstanding work in the studio. With over 55 stage, film and TV credits, he has won both Emmy and Tony Awards and has received numerous major honours for his outstanding work on stage and screen, all the while accepting roles which exposed and explored prevalent racialized issues of the day. Culchahworks’ Tribute Celebration next assays the other major thread in Belafonte’s life: his lifelong social and political activism. Inspired in his political orientation by his mentor, the renowned singer, actor and Communist activist Paul Robeson, Belafonte played an important role in the 1960s Civil Rights movement as both supporter and confidant of Dr. Martin Luther King Jr. Belafonte played an active role in the anti-apartheid movement and has since 1987 served as UNICEF goodwill ambassador. Performances include songs from his live 1972 album recorded in Toronto, and the 1988 Live in Zimbabwe concert. Belafonte has challenged many social and political barriers in both his off-stage and singing and acting careers. Tribute Celebration re-enacts scenes from his signature film and TV roles dramatizing these themes. Having retired from active performing in the 2000s Belafonte has more time these days to advocate for political and humanitarian causes. Rather than slowing down in his senior-plus years, he founded Sankofa the year he turned 86. That social justice charity organization “enlists the support of today’s most celebrated artists and influential individuals in collaboration with grassroots partners to elevate the voices of the disenfranchised and promote justice, peace and equality.” (“Mission” on Sankofa.org.) Belafonte continues to take his civic responsibilities seriously. He currently serves as the American Civil Liberties Union celebrity ambassador for juvenile justice issues. Tribute Celebration rounds out its program acknowledging Belafonte’s political engagement and recounting his continuing influence on the development of young artists and activists. I’m not sure if the show will touch on his passionate critique of the policies of both the George W. Bush and Barack Obama presidential administrations. Speaking as ever truth to power, Belafonte has also chosen – in his 90th year – to serve as honorary co-chair of the Women’s March on Washington held on January 21, 2017, the day after the inauguration of President Donald Trump. Other Picks February 7 the Isabel Bader Centre for the Performing Arts presents the pioneering Toronto world music ensemble Evergreen Club Contemporary Gamelan in its Global Salon Series. The concert takes place in the Centre’s acoustically warm, 560-seat concert hall, 26 | February 1, 2017 - March 7, 2017 thewholenote.com
dubbed The Isabel. Opened in the fall of 2014, the Centre has positioned itself as a “new home for the creative arts at Queen’s University and a new hub of artistic study, creation and exhibition” in the greater Kingston region. I toured The Isabel during its very early days. All I can say is that it’s worth the drive to Kingston. Before I discuss ECCG’s music, I feel obliged to mention to new readers of this column that I’m a 34-year founding member of the group. I’m getting a bit long in the tooth, I know, but I still thoroughly enjoy each of our concerts, Diely Mori Tounkara especially meeting new listeners with adventurous ears. ECCG has based a three-decade career on commissioning new scores with the end game of performing, recording and touring them on its superb bespoke Sundanese gamelan degung, a kind of gamelan indigenous to West Java, Indonesia. At the same time the group also performs music which can be heard in its West Javanese homeland, though in ECCG’s own idiosyncratic arrangements. As I wrote in this column last fall, “It’s a complex world of music out there and ECCG aims to present that complication from a Canadian perspective.” In its concert at The Isabel, ECCG explores various border crossings and cultural hybridities in works by Canadian composers Mark Duggan, Paul Intson, Andrew Timar, Linda Catlin Smith and John Wyre. Works by the composer American Lou Harrison and Indonesians Nano Suratno and Burhan Sukarma round out the program. February 11 Alliance Française de Toronto and the Batuki Music Society co-present a “Concert of Malian Music” by Diely Mori Tounkara, kora and vocals. Hailing from a large family of Malian griots, Tounkara followed his father’s profession, becoming a young master of the kora. Among the leading griots of his generation, his knowledge of the role Mandingo musical tradition plays is profound. His virtuoso playing on the kora brilliantly supports his flexible vocals which convey a wide range of subtle feeling that can be appreciated by Malian as well as Canadian audiences. Tounkara’s appearance aptly connects with the celebration of Black History Month. February 14 the Royal Conservatory presents Ladysmith Black Mambazo in its World Music Concert Series at Koerner Hall. As a reader of this column, I assume you’ve heard this all-male South African choir. Singing and recording for over half a century, they helped make Paul Simon’s album Graceland (1986) a huge hit with sales of 16 million units. LBM has long been considered South Africa’s musical ambassador. At Nelson Mandela’s request LBM accompanied Mandela to his 1993 Oslo Nobel Peace Prize ceremony, as well as singing at Mandela’s landmark inauguration as President of South Africa the following year. Having made its first record in 1973, LBM has since recorded over 50 albums, many of which have garnered gold and platinum disc certification. Their most recent CD, Walking in the Footsteps of Our Fathers, has been nominated for Best World Music Album of 2016 by the Recording Academy, marking the group’s 17th Grammy Award nomination. (A rollcall of awards and honours received would take up an entire column.) The album’s title accurately reflects the intergenerational makeup of the a cappella choir; most current members are descendants of the original 1960s singers. LBM is a world music institution, touring regularly to bring their uplifting, joyful message to a broad international fan base. “May the Fourth Be with You” March 4th, that is. It’s going to be a day of tough concert choices. If you feel in the mood for a raucous, dance-in-your-seat-worthy Balkan wedding band you can catch Goran Bregović and His Wedding and Funeral Band at Massey Hall. The concert is co-presented by Massey Hall and Small World Music. In another fascinating March 4 concert – this one by two very different choirs, Schola Magdalena presents the joint program, “Weaving the World” with Schola Magdalena and Darbazi at the Church of St. Mary Magdalene. Schola Magdalena’s guest, Darbazi, is Toronto’s first choir specializing in the performance of the polyphony indigenous to the peoples of the Republic of Georgia. The resident choir will sing Georgian chant, for which they are justly respected, and medieval choral works by Hildegard and Dunstable. Darbazi will perform selections from its extensive Georgian repertoire. The listing also mentions the performance of the intriguing but as yet undesignated “new music.” Will the two choirs jointly sing a new work or two? My advice is to go and find out, along with me. Finally, also on March 4, the Jubilate Singers connect with the Black History Month theme, bringing our column full circle. In a program titled “The African Connection” the choir celebrates the influence of African music in Christian liturgy, spirituals and vernacular songs, “as written and arranged by Western composers.” Isabel Bernaus conducts the Jubilate Singers while Sherry Squires accompanies on the piano at St. Simon-the-Apostle Church. It’s a felicitous way to wrap up the month. Andrew Timar is a Toronto musician and music writer. He can be contacted at worldmusic@thewholenote.com. thewholenote.com February 1, 2017 - March 7, 2017 | 27
Choral Scene: Uncharted territory: three choirs finding paths forward; Music Theatre: Loose Tea on the boil with Alaina Viau’s Dead Reckoning; In with the New: what happens to soundart when climate change meets COVID-19; Call to action: diversity, accountability, and reform in post-secondary jazz studies; 9th Annual TIFF Tips: a filmfest like no other; Remembering: Leon Fleisher; DISCoveries: a NY state of mind; 25th anniversary stroll-through; and more.
Online in flip through here, and on stands commencing Tues SEP 1.
Following the Goldberg trail from Gould to Lang Lang; Measha Brueggergosman and Edwin Huizinga on face to face collaboration in strange times; diggings into dance as FFDN keeps live alive; "Classical unicorn?" - Luke Welch reflects on life as a Black classical pianist; Debashis Sinha's adventures in sound art; choral lessons from Skagit Valley; and the 21st annual WholeNote Blue Pages (part 1 of 3) in print and online. Here now. And, yes, still in print, with distribution starting Thursday October 1.
Alanis Obomsawin's art of life; fifteen Exquisite Departures; UnCovered re(dis)covered; jazz in the kitchen; three takes on managing record releases in times of plague; baroque for babies; presenter directory (blue pages) part two; and, here at the WholeNote, work in progress on four brick walls (or is it five?). All this and more available in flipthrough HERE, and in print Tuesday Nov 3.
In this issue: Beautiful Exceptions, Sing-Alone Messiahs, Livingston’s Vocal Pleasures, Chamber Beethoven, Online Opera (Plexiglass & All), Playlist for the Winter of our Discontent, The Oud & the Fuzz, Who is Alex Trebek? All this and more available in flipthrough HERE, and in print Friday December 4.
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!).
