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!
compositions and
compositions and suffused with his increasingly musically confident synth performances, in a couple of years they produced the hit single Tillicum as well as two successful albums Syrinx and Long Lost Relatives. Tumblers from the Vault has carefully remastered those recordings and added previously unreleased material. Dissolving by 1972, during that brief period they managed to merge many music genre threads. I can hear traces of experimental, classical, psychrock, global influences, proto-ambient, pop, funk and jazz all delivered with a sensitivity for memorable melody, timbral exploration and technological innovation. I find in the new tracks some of the most musically engaging moments of the box set. These include the extended demo version of December Angel in an ever-evolving dancefriendly 6/8, and particularly the adventurous four-movement, 26-minute Stringspace (1971) for string orchestra, percussion and Syrinx trio. This, the most ambitious work here, points to even larger Mills-Cockell projects yet to come. As Nick Storring offers in his insightful liner essay, “Syrinx’s music is more than a faded strain in Canada’s consciousness […one that] has never expanded universally.” Can Tumblers from the Vault elevate the shortlived Syrinx to a “place in the wider canon of groundbreaking music, so its story can be appreciated beyond the limits of Canadian notoriety,” as posited by Storring? I can’t say. What I can is that this music from the last century welcomes us to imagine listening to future music which flows freely and amicably across multiple genre boundaries. Andrew Timar Minstrelle Kristina Bijelic; Felipe Tellez Independent (kristinabijelicvox.com) !! This imaginative project is not only a tour-de-force for the female voice and a celebration of a distinctly feminine journey (hence the title), but it is also the manifestation of the creative partnership between Toronto-born, multilingual, genre-fluid, classically trained vocalist and lyricist Kristina Bijelic and noted Colombian composer and orchestrator, Felipe Tellez. The six evocative, brilliantly produced, original compositions presented here, embrace a variety of ethnic influences and cultural motifs as well as elegant and poetic English, Spanish and Serbian lyrics written by Bijelic. The infusion of Tellez’s stirring orchestral arrangements (performed by the Budapest Art Orchestra) are nothing short of magic. Of special note is the opening track, On the Horizon. The spaciousness of the composition seems to symbolize the intoxicating lure of travel, of taking the first steps of an irresistible journey. Bijelic’s rich, sonorous alto voice is as resonant as a fine cello, and like a cello, it is a pure conduit for the expression of the deepest emotions. Also stunning is Enamorarme de ti (Falling in Love with You). Based on a traditional Spanish bolero, the Latin rhythmic elements and complex, contrapuntal moving string lines transport the listener into a romantic idyll. Near the end of the album’s journey is the jazz-influenced Wandering, which is perhaps the most cinematic composition on the CD, bringing to mind the Film Noir of the 1940s and 50s, and Devajačka Pesma (Girl’s Song) is a total delight. Traditional Balkan motifs, chord progressions and instrumentation, as well as the dynamic vocal by Bijelic, make this particular fusion of musics not only original, but thrilling. Lesley Mitchell-Clarke I Am the Hero Shirley Eikhard Independent (shirleyeikhard.ca) !! Singer/songwriter/ instrumentalist Shirley Eikhard has been a popular and successful mainstay of the Canadian music circuit for decades. In this, her “20th L/R record of new performances,” she multitasks and does practically everything, from singing the lead and backup vocals to her own songs, playing all the instruments, producing, and painting the CD cover art, with help in artwork/design from Catherine Osborne, and mixing and mastering from George Seara. This is a very personal musical journey and gift to us, the listeners, as Eikhard touches on her country, jazz, folk and reggae influences and weaves elaborate stories in her lyrics. The tragic love story of My Diego unwinds like a bestseller murder mystery novel set to upbeat toe-tapping music. Likewise the title track, I Am the Hero is an illuminating look at selfexploration. In contrast, the instrumental Carmen’s Revenge proves Eikhard is equally stunning in both lead and improvisational instrumentals in this funky, jazz-tinged track, though a list of what instruments are being played would have been greatly appreciated. Closing track Comforts of the Country is hit material as it combines great lyrics, vocals, upbeat melodies and grooves. Eikhard is a master of creating satisfying sing-along, ear-worm musical hooks that resonate long after the CD is back on the shelf. It may be too pop for one’s tastes with looping melodic sections and the typical three-minute, radio-friendly track length, but this is really, really fun music! Tiina Kiik Something in the Air A New Way of Hearing Notated Music KEN WAXMAN Like labels being taken off beverage bottles for blind taste tests, the designations of what characterizes distinct musical genres has become increasingly fluid over the past few years. This is most evident when it comes to Western improvised and notated music. With established so-called classical music ensembles becoming increasingly hidebound and conservative, it’s new music companies that showcase composers’ new works, many of which feature improvisation. In a mirror image of this, jazz musicians create novel programs not only tweaking classical composed material, but also premiering contemporary composers’ scores. Arguably the most audacious admixture occurs on Mass (RareNoiseRecords RNR CD 072 rarenoiserecords.com), a reimagining of Missa Sancti Jacobi, a nine-part choral work by Guillaume Dufay (1397-1474). As if he’s draping cathedral walls with an embroidered tapestry whose intricate designs reflect secular as well as sacred concerns, Niagara Falls, NY-born percussionist Bobby Previte aggrandizes the Dufay work by having it performed by a combo of himself, electric bassist Reed Mathis, electric guitarists Don McGreevy, Mike Gamble, Jamie Saft, with Marco Benevento on pipe and electric organs, and most prominently, guitarist Stephen O’Malley of drone rock band Sunn O))). Benevento’s nave-shaking grandiloquence appears equally influenced by resonant organ compositions by Olivier Messiaen and the prog rock blowouts of Rick Wakeman. Ecclesiastical connections are maintained not only by Messiaen-like pipe-organ tropes, but also by Latin vocalizing from the 11-member Rose Ensemble. The sonic brocade is most evident on those tracks where Dufay’s choral sections are harmonized with instrumental breaks that could have migrated from a death metal session. On Gloria for instance, vocal polyharmonies move upwards alongside organ glissandi and fuzzy guitar riffs. Previte’s sinewy percussion and Mathis’ jazz-like bass line create a backdrop on which the beauty of stacked and intertwined male and female 82 | February 1, 2017 - March 7, 2017 thewholenote.com
voices can be appreciated on Credo. This is followed by a sequence that contrasts triple vocal hocketing and pseudo-psychedelic guitar riffs. In a similar fashion, vocal chanting snakes around augmented and diminished riffs from the rhythm section on Alleluia. Benevento’s beat-club variants give way to accompanying the delicate vocals on Agnus Dei. The guitars absent on that track move to the centre on the concluding Communion. A showpiece for O’Malley, the track highlights as many shaking effects, whistling distortions and dial twisting that could be found in an electric guitar demonstration, yet polyphonically matches this swaggering display with liturgical infusions from the ensemble. Before the piece climaxes with guitar riffs and jackhammer percussion, Benevento’s incessant tremolo, which sounds as if numerous church organs are quivering in unison, is swept away by harmonized vocal and instrumental timbres. A mixture of profound and profane, Mass is awe-inspiring in both its original and contemporary meanings. Compositionally moving forward a few centuries is Montreal’s six-piece Cordâme, whose interpretation of 17 Variations (Malasartes MAM 022 malasartes.org) by French composer Erik Satie (1866-1925) adds free-floating swing to these animated miniatures. Composer/arranger Jean Félix Mailloux does so with agile shadings for his own double bass, Mark Nelson’s percussion and Guillaume Martineau’s piano, with themes largely interpreted by Sheila Hannigan’s cello, Éveline Grégoire-Rousseau’s harp and Marie Neige Lavigne’s violin. Like experimental chemists testing new substances Mailloux encourages the musicians to intermix their experiences. On a track such as Danses de travers for instance, Martineau moves from prosaic note reading to healthy swing, backed by drum pops; while four sets of healthy string slaps make Un morceau en forme de Poire peppier than what Satie envisioned. Avant-dernières Pensées: III Méditation et Variations picks up on the lighthearted run-through of II Aubade that precedes it, but the churn comes from Neige Lavigne’s fiddle and slippery piano comping. Novel tinctures beyond Satie’s ken are suggested as well. Shades of jazz piano phrasing and almost rock-styled drumming are audible on Autour de Gnossienne III; while like the additional detailing added to the frame of an Impressionistic canvas, the centre section of Hannigan outlining the theme in careful fashion is preceded by call-and-response from the other string players and followed by rooted harmonies from piano, bass and drums. The sextet brings out the unblemished beauty plus looming unease that characterizes Les cloches du Grand Maître with the skill of conservatory graduates, but pizzicato motion enlivens the pieces so that it climaxes with percussive plucks and thumps. More characteristically Cordâme confirms its position as a group of more than mere interpreters on Airs à faire fuir. As if the players are superimposing a transparent diagram of new nations on top of the composer’s Edwardian-era map, Grégoire-Rousseau’s bell-like reverb and tick-tock drum beats provide a groove upon which Neige Lavigne sluices out passages that would be equally acceptable in a Balkan ditty or a Satie composition. A near contemporary of Satie, the work of Charles Ives (1874-1954) was as unconditionally Yankee as the other’s was Parisian. Guitarist Eric Hofbauer and his Quintet on Prehistoric Jazz Vol. 3 (Creative Nation Music CNM 028 erichofbauer.com) move one of the composer’s iconic works, Three Places in New England, into the improvisational idiom. Like actors performing Shakespeare in modern dress, what Hofbauer and his associates – trumpeter Jerry Sabatini, clarinetist Todd Brunel, cellist Junko Fujiwara and percussionist Curt Newton – do revamps the material. The strategy evolves contrapuntally throughout, with the jazz forays flowing more freely than the somewhat rigid composed material. This works most obviously on Putnam’s Camp, Redding Connecticut, where the march-like gait played by bass clarinet and trumpet is reminiscent of 19th-century brass bands. As Sabatini remains Maynard Ferguson-like orotund in his obbligato, Brunel and Hofbauer float other airs like secular musicians on a nearby bandshell. Crunching guitar thumps and a walking bass line (from Fujiwara’s cello) combine for the final section, which not only swings but refers back to Ives’ original. Similar alchemy is exhibited on the brief The Houseatonic at Stockbridge. While the guitar parts are concentrated and undoubtedly 21st century in execution, the leisurely themes from cello and clarinet affirm the antebellum songs that vibrate alongside the modernist interpretations from the CD’s beginning. Imagine a gentle stream flowing past a plantation porch in 1857. But the plucking on that veranda is from a modern jazz guitarist. Modernism is taken for granted on Fonogramatika (Lithuanian Classics CD 089) as the five members of the German- British Apartment House ensemble interpret seven compositions by Lithuanian composer Antanas Rekašius (1928-2003). The players are conversant with both notated and improvised music, with reedist Frank Gratkowski, a recognized jazzer as well. Like an illusionist intent on showing his range, Gratkowski brings a sophisticated improvised temperament to the tracks on which he’s featured along with cellist Anton Lukoszevieze and percussionist Simon Limbrick. Gratkowski invests the five-part Phonogram with unexpected snorts, split tones and swizzles, applying Rudy Wiedoeft-like showiness to insets ranging from menacing chalumeau to visceral coloratura tones. Two sections may be labelled Grotesque but have confident rapport with the main theme. Topping low-frequency string swerves and hard drumming as if additional seasoning is being added to a recipe, Gratkowski’s dribbling alto saxophone and robust flute quavers make the three-part Musica dolente e con brio the more overtly jazzy. Atonal bass clarinet snarls contrast enough with stolid drum beats on the five-part Epitaph to encourage ratcheting pizzicato cracks from Lukoszevieze. The cellist’s spiccato multiphonics bring needed airiness and a telephone-wirelike buzzing to Fluorescences the CD’s longest track. Otherwise consecrated to Kerry Yong’s synthesizer, pushed to its limits with hocketing replicating pipe-organ fluctuations, Lukoszevieze’s later string slaps prevent the keyboardist from lapsing into silent-movie-house excess. Regrettably reminiscent of faux ragtime, though composed in 1970, Philip Thomas’ out-of-order reading of Rekašius’ seven Atonic fragments for solo piano are at best performed with staccato high frequency, but at worse resemble early 20th-century composers’ parlour music-like appropriation of American syncopation. The performance most contiguous to improvised music on Sound of Horse (HUBRO CD 2582 hubromusic.com), the Norwegian asamisimasa ensemble’s interpretation of five pieces by British composer Laurence Crane (b.1961) occurs on the seven-part title track. Like a radio broadcast leaking into another program, the unexpected jump cuts when Anders Førisdal’s gritty electric guitar distortion disrupts the leisurely theme expressed by clarinetist Kristine Tjøgersen and cellist Tanja Orning, recall several of John Zorn’s militant compositions. Aggressive as well are Ellen Ugelvik’s expanding organ glissandi which introduce Riis, before settling into a comforting narrative in tandem with the cellist and clarinetist. The remainder of the material is precise and clean, though lacking in anything resembling syncopation or swing. Yet the composer and the ensemble members – filled out by percussionist Håkon Mørch Stene and soprano Ditte Marie Bræin – are young enough to have grown up when improvisational techniques were as much part of the musical gestalt as the reductionist piano lines and aleatory string buzzing reflected here. As notated as the material may be, the group’s dexterity confirms that these tracks and the other CDs would have been composed and played markedly different years earlier. thewholenote.com February 1, 2017 - March 7, 2017 | 83
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.
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!).
