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!
CBC Radio Two: The
CBC Radio Two: The Living Legacy Harry Freedman’s Orchestral Works DAVID JAEGER A long awaited and impressive new Centrediscs CD filled with distinctive orchestral compositions by Harry Freedman (1922- 2005) will be launched Friday, February 10, at Chalmers House, the national headquarters of the Canadian Music Centre. Freedman was a master of orchestration, an art that was informed by the 25 years he served as English horn soloist in the Toronto Symphony Orchestra (1945-1970). He wrote for many other genres, including art song, ballet, chamber music, choral and film music, as well as incidental music for the theatre. But his orchestral music contains much of his very finest work, creating a canon of compositions that is not only large, but also diverse, both in style and creative approach. This Centrediscs compilation of Freedman’s orchestral works displays five vivid examples of his imaginative takes on orchestral composition, all beautifully recorded in live performances for broadcast on CBC Radio. The new CD is titled Harry Freedman: The Concert Recordings. In 2002, in a broadcast interview on the national CBC Radio Two series I created, Two New Hours, Freedman spoke of how his skill with orchestration had developed during his time with the TSO. He told program host Larry Lake, “You’re sitting in the middle of an orchestra. Anything you hear that strikes your ear, thinking, ‘Oh wow, how’d he do that?’, well you can just go find out how he did it – there’s a score sitting right up on the conductor’s podium. And when I was writing and had a problem with, say something for the trombone, I could go to the trombonist and ask, ‘Can you do this? What if you did this? Would that be OK?’ And you find out so many things in the orchestra you just can’t get from reading an orchestration text. There’s no better way to learn.” Largely as a result of all this practical experience, Freedman’s orchestral compositions show refinement and sophistication and are stunningly effective works in the Canadian repertoire. Many of Freedman’s works were the result of commissions from CBC Radio Music. I remember the first time I commissioned him, in 1977. The occasion was the approaching 50th birthday of Freedman’s good friend, the famous baritone saxophonist, Gerry Mulligan. Freedman himself was approaching his 55th birthday, but his point was, he wanted to compose a concerto for Mulligan to celebrate the soloist’s own half century milestone. Harry and I discussed the project, and I checked with Radio Music senior managers to get their support for the idea. They liked the concept of a concerto for Mulligan and orchestra and we went ahead with it. The hidden factor in this conversation was that, at this very time, I was preparing to launch Two New Hours, the new national contemporary music series on what was then called the CBC FM Network (and eventually CBC Radio Two.) We knew we would need plenty of content to support a weekly network series in which everything would be new. Freedman, who was president of the Canadian League of Composers at the time, was well aware that these plans were in the works, and he was pleased to be one of the earliest collaborators with the new series. The premiere of Celebration, Freedman’s new concerto for continues to page 86 On Our Cover Targeted Marketing LAUNCHING 2017/18 DAVID PERLMAN We tend to hear a lot these days about presenters experimenting: tinkering with the traditional concert form, making imaginative changes to programming and presentation. We hear (or care) less about the constant tinkering and re-imagining that goes on at the marketing end of things, although the creative and promotional aspects of things are inextricably intertwined. As the poet (Thomas Gray) put it, “full many a flower is born to blush unseen, and waste its sweetness on the desert air.” Translation: great concert, but the seats needed bums. For marketers, it’s no easy task to keep up: audiences’ personal information-gathering preferences change; new sources of information and devices emerge; new ways of searching and sorting the endless stream of invitations and demands on precious, nonexpanding time. The temptation is to grasp at each new straw as it rushes by on the tide – to declare that tried and true methods of garnering audiences have had their day. An example: going into this decade, there was a lot of gloomy prognostication on the PR and marketing side of things – predicting that season ticket sales and subscriptions were about to go into a precipitous decline. Audiences are no longer in a position to lock themselves into a whole season’s worth of performances months in advance, the argument went. Not with the health of parents, the welfare of children, and our own increasingly creaky bodies making it harder to predict, months in advance, what the demands on our time and other resources are going to be on any given day. Instead, it seems that for many, with so much uncertainty, from personal to geopolitical, rocking our worlds, looking at a calendar stretching six to eighteen months into the future has become even more important: a way of saying “well at least I know where I will be on THAT day, right down to the specific music I will be losing (or finding) myself in.” All this is not to say that the season launch and its accompanying rituals remain monolithically unchanged, any more than the concert form itself. Timing; whether to have a launch event and if you do who to invite – previous subscribers, sponsors, donors, the public; whether to live-stream it; whether to tie it to a particular concert in the current season; what kinds of packages, series and sub-series and February 16 at eybler quartet concert Early Birds (Jan-March): SOFT OR HARD (ie launch event or release only) The COC announced their 2017/18 season on January 12. coc.ca READER ACCESS TO INFO: please provide best link/way for readers Toronto Symphony Orchestra: January 25, no event; tso.ca. to get the details and how soon after launch will it be available? Tafelmusik: February 13; tafelmusik.org or 416-964-6337. Music-toronto .com 416-366-7723. Music Toronto: February 16 (at their Eybler Quartet concert); Music toronto music-toronto.com or 416-366-7723). SO Art of Time Ensemble: February 15; artoftimeensemble.com (PROJECTED) DATE OF YOUR LAUNCH/ANNOUNCEMENT) Soundstreams: March 1 by media release. For advance notice, sign We won’t be hosting an event, as we did in the past. The press up for their email newsletter, at soundstreams.ca. release is slated to go out next Wed., Jan. 25. All details will be on our Toronto Consort: March 3-4, at their March concert; brochures website by then: TSO.ca available at the show, and details at torontoconsort.org. I can probably send you the info under embargo by Monday, if you Women’s Musical Club of Toronto: March 9, at their March think that would help. concert; online (by e-newsletter at wmct.on.ca) on March 16. SOFT OR HARD (ie launch event or release only) Isabel Bader Centre (Kingston): end of March; theisabel.ca. READER ACCESS TO INFO: please provide best link/way for readers Spring (April-June): to get the details and how soon after launch will it be available? Esprit Orchestra: April 2, at concert; updates at espritorchestra. KOERNER com, with a full season brochure in late summer/early fall. (PROJECTED) DATE OF YOUR LAUNCH/ANNOUNCEMENT) Toronto Mendelssohn Choir: April; press release, with a brochure SOFT OR HARD (ie launch event or release only) in May/June and website updates by the summer. READER ACCESS TO INFO: please provide best link/way for readers Flato Markham Theatre: An official event the first Monday of May to get the details and how soon after launch will it be available? (with other hints beforehand); markhamtheatre.ca. Karen) Orpheus Choir of Toronto: around May 15 (media release and at 8 | February 1, 2017 - March 7, 2017 thewholenote.com
“pick- your-own” mini-packages to offer; where (if anywhere) the media (if there are any left) fit in… All questions to be answered. And hardest question of all: how do we best capture, in a few precious pages or minutes, our prospective audiences’ attention to the essence of a whole year’s inspired creative endeavour that has been months or years in the planning? Take the Opera Atelier photograph on this issue’s cover as an example. It looks like a production shot, and in a way it is. But the production in question is not either of the two mainstage shows around which 2017/18 will revolve. Rather, it is the season itself. OA senior communications manager Bronwen Bradley explains: “We always do a photoshoot in December specifically to create images for our upcoming season. Marshall [Pynkoski] and our set designer Gerard Gauci are typically working on the concept and art direction months in advance! Meghan [Lindsay]and Eric [da Silva] are wearing Martha Mann’s Dora Award-winning costumes from Figaro, and are loosely representing Figaro and Susanna. The photo is tied to our season theme of ‘Taking Aim at Your Heart’ as Love is the driving force in our two operas next season.” Impeccably shot by Bruce Zinger, OA’s resident photographer since the early 2000s, the photograph is instantly recognizable as Opera Atelier’s to anyone who knows OA’s work. Meticulous gestural language, minutely detailed staging, opulently detailed, yet at the same time tantalizingly non-specific. Lindsay, a company regular, is in this spring’s Medea and will return next season, but not in Figaro. Da Silva, a member of the Atelier Ballet, uncharacteristically thrust into the foreground, strikes a characteristically balletic pose. All in all it is trademark Opera Atelier, selling the brand, not a specific product: “For those of you who know us, 2017/18 is business as usual! But for those of you who don’t, oh what lovely business it is!” As mentioned, no one size or style or date of subscription drive or season launch fits all. What follows is a somewhat random sampling of information from presenters likely to be known to our readers. It’s a handy guide to how, and when, you’ll be able to start planning out next season’s long-term musical certainties amid the vagaries of daily life. And be sure to check back on this story online for updates and additions to the list as they become available. t of Time Ensemble (emld) orpheuschoirtoronto.com, and at their May 14 concert). We’ll be launching our 17/18 Season via media release on Burlington Performing Arts Centre (Burlington): mid-May, with a February 15. Readers can access information by visiting our website at special event; burlingtonpac.ca. www.artoftimeensemble.com Elmer Iseler Singers: May or June; by press release, brochure, and Elmer Iseler Singers at elmeriselersingers.com. PROJECTED DATE OF YOUR LAUNCH/ANNOUNCEMENT: May or FirstOntario Performing Arts Centre (St. Catharines): end May/ June early June, media (and possibly public) event ; firstontariopac.ca. EVENT (please specify), OR MEDIA RELEASE ONLY?: press release, Living Arts Centre (Mississauga): June 5 to the public at 11am brochure (with a private preview event on May 30); livingartscentre.ca or READER ACCESS TO INFO: please provide best link/way for readers 905-306-6000. to get the details and how soon after launch they will be available: Richmond Hill Centre for the Performing Arts: May 8 (at 6:42pm, website, printed brochure to be precise!); rhcentre.ca. And those keeping us guessing: New Music Concerts sometime in the spring, (newmusicconcerts.com), and to their mailing list. A brochure will be available in August. U of T Faculty of Music: August 14, before the start of the new school year; music.utoronto.ca. Ilya Poletaev performing Bach, Enescu, and Schumann Tuesday February 7 Eybler Quartet Vanhal, Asplmayr, Haydn, and Beethoven Thursday, February 16 th Pražák Quartet Thursday, March 2nd Hear the rare Bruckner quartet, plus Haydn and Dvořák at the Jane Mallett Theatre St. LAWRENCE CENTRE 416-366-7723 th FOR THE ARTS Work for an ensemble, music presenter or performing arts venue and want to add your name to this list? Send us an email at editorial@thewholenote.com. Canadian Heritage Patrimoine canadien thewholenote.com February 1, 2017 - March 7, 2017 | 9
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!).
