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.
The opening introduction
The opening introduction of Symphony No.1 in D Major (1813) leads into the Allegro through an attractive chain of suspended notes, a feature that recurs as the Allegro theme returns. Végh shapes the lyrical second theme beautifully. The lilting Andante and the Trio of the Menuetto movement are also fine examples of the lyrical style, with strings and winds equally integrated. Symphony No. 2 in B-flat Major (1814-15) opens more promisingly with woodwinds in dialogue, followed by an Allegro energetic and melodic in turn. Clarity in the strings is matched even by the cellos and bass; the winds are flawless. In Symphony No. 3 (1815) Schubert returned to the key of D Major with more formal assurance and ability to develop first-movement themes. The charming Allegretto that follows is the highlight of the work for me. Symphony No. 4 in C Minor “Tragic” (1816) reinforces our astonishment at Schubert’s rapid progress before he reached the age of 20! The Introduction of this minor-key work is moving indeed and Végh communicates the changed mood convincingly throughout. Good intonation, excellent ensemble and orchestral balance prevail. Idiomatic and elegant performances have raised my estimation of all these works and of Végh as conductor; they will receive many hearings. Roger Knox Mussorgsky – Pictures at an Exhibition Wiener Philharmonic; Gustavo Dudamel Deutsche Grammophon 479 6297 L/R !! Of all the composers in the Russian nationalist school “The Mighty Handful,” Mussorgsky is arguably the greatest. True, Rimsky-Korsakov’s highly colourful style left its mark on Glazunov and Stravinsky, but it was Mussorgsky’s works that were groundbreaking. And though Rimski-Korsakov disparaged Mussorgsky’s work as having “absurd, disconnected harmony, ugly partwriting, sometimes strikingly illogical modulation…” these characteristics were grist to the mill for Mussorgsky’s power, earthiness and sheer musical invention that inform, for instance, the mighty work: Pictures at an Exhibition (1874). This tribute to the architect and painter Victor Hartmann was written as a suite of piano pieces and, like other versions, not performed until after Mussorgsky’s death. This Wiener Philharmoniker version conducted by Gustavo Dudamel comes from Maurice Ravel’s 1922 orchestration. Unlike every previous recording of Pictures at an Exhibition – including Berliner Philharmoniker and Claudio Abbado’s – in this interpretation (of Ravel’s Mussorgsky) Dudamel restores Mussorgsky’s Pictures to its architectural grandeur. The ten pictures – each one an atmospheric miniature – are connected by a recurring theme (the Promenade) and suggest Liszt’s influence, but with a greater psychological insight. The sinister melancholy of Gnomus, playfulness of Tuileries and grand triumphalism of The Great Gate of Kiev are dazzling. The intense beauty of the performance is completed by Mussorgsky’s Night on Bald Mountain and the Waltz from Tchaikovsky’s Swan Lake. Now all we need is a documentary of the 900 Superar children aged 5 to 16, from Vienna’s tenth district that contributed to this project. Raul da Gama Editor’s Note: Superar is a high quality musical program for young people. The program is free for participants and offers courses in choirs and orchestras. Superar is an offer to young people who for various reasons have little or no access to cultural education. Superar was founded in 2009 by Vienna’s renowned institutions the Wiener Sängerknaben, the Caritas of the Archdiocese of Vienna and the Wiener Konzerthaus. Bruckner – Samliche Sinfonien (Symphonies 1–9; Student Symphony; Symphony “0” – Original versions) Philharmoniker Hamburg; Simone Young Oehms Classics OC 026 !! The legendary Sergiu Celibidache, perhaps the greatest Bruckner conductor ever, once said: “Time for the average person begins at the beginning, but for Bruckner time begins after the last note has been heard.” This distinguishes his music from, say, Beethoven or Brahms which moves logically from beginning to end. A Bruckner symphony must be heard in its entirety to begin percolating through one’s senses with the full effect emerging from the subconscious, sometimes as a jolt like the conversion of Saul on the road to Damascus. Bruckner is in no hurry. He ambles along at a leisurely pace, often stopping for breath or a backward glance. His music is “elemental rather than intellectual, it is hypnotic and incantatory” (Richard Capell). A great live performance could be breathtaking and cataclysmic. This new set of complete Bruckner symphonies has been released one by one over the past few years and reviewed extensively by the most respectable music journals to rave reviews. After listening to every single one of them I most emphatically concur; in fact it’s been hard to contain my enthusiasm. And the conductor? Simone Young, a young lady from Sidney, Australia, who arrived in Germany in her 20s and quickly became assistant to Daniel Barenboim at the Berlin Staatsoper and soon thereafter took over the entire musical life of Hamburg (i.e. the Symphony and the Opera that dates back to the 17th century under such directors as Telemann, Gluck, Handel, Bulow, Mahler and a list of venerable conductors like Klemperer, Wand and Nagano). Now, this already indicates an extraordinary and enormously gifted musician, but a first foray into the recording world with a statement on one of the most complex and difficult composers, Bruckner (who conductors have spent a lifetime studying and struggling to interpret) is a feat no less than miraculous. Notable also that she opts for the original versions (Urfassung) unlike most other conductors who use one of the many revised versions. Minor point, but Symphony No.4 is completely unrecognizable in its original form; the 1880 version is the way it’s always performed and as such is sadly missing from this set. Bruckner’s oeuvre divides itself into three categories, the early symphonies (1 - 4), the middle period (5 and 6) and the final masterworks (7, 8 and 9). Symphony No.1 is youthful, tempestuous, strongly rhythmic and then there is a curiosity, Symphony 0, a piece Bruckner rejected as “not good enough” so it became known as the Die Nullte (annulled) but luckily survived. Both of these are driven joyfully with exuberance, very un-Bruckner as it were, but in the Third Symphony (1873, D Minor) Young passes the first real hurdle with great aplomb showing youthful lightheartedness in the lovely Scherzo that really dances; it’s an absolute delight. The second movement with its Tristan quotations is majestically developed with beautiful lyricism and an almost Schubertian joy in melodies. The fourth movement is fast and turbulent, exciting and suspenseful with a nice Brucknerian finale. As we now enter the middle period there is a quantum leap in Bruckner’s output and although he keeps to his original format the music is entirely different like the giant Fifth Symphony of churchlike solemnity and unheard-of complexity. A real stumbling block for conductors, it is rarely performed but – and here comes the miracle – she is simply magnificent. “Probably the finest [new performance] I’ve heard for a long time… Young manages the rare feat of honouring all Bruckner’s changes of gear and tempo while keeping a powerful forward flow… no doubt I shall listen to other accounts which are as fine, but for the moment I find that hard to believe” (BBC Music Magazine, December 2015). I would love to watch her do the giant fugue of the last movement at the helm of the thundering orchestra like a Napoleon commanding his armies. And what made Napoleon able to conquer most of Europe was not the size of his armies, but his uncanny ability to manipulate his troops and outwit the enemy, much the same as what Young does. With a tremendous insight and overview of the score she always has the 76 | March 1, 2017 - April 7, 2017 thewholenote.com
ending in sight and by shifting the emphasis of the thematic material the progress is kept interesting, never boring. The last three symphonies are the pinnacle of Bruckner’s art and this is where Young brings out the big guns. The unfinished, enigmatic and otherworldly Ninth with its valedictory Adagio is simply musical heaven and the greatest thing he ever wrote, but the monumental 90-minute long Eighth Symphony, being 100 percent complete, is also an incredibly satisfying, glorious work to which she brings grace and lightness in the Scherzo, and a hushed intensity to the Largo like a long, long prayer with a single earth-shattering fortissimo climax achieved after a long sustained crescendo of some 22 minutes. Big guns, indeed. Unhesitating recommendation. Janos Gardonyi Mahler – Symphony No.3 Gerhild Romberger; Augsburger Domsingknaben; Frauenchor und Symphonieorchester des Bayerischen Rundfunks; Bernard Haitink BR Klassik 900149 !! This is Bernard Haitink’s most recent recording of Mahler’s monumental Third Symphony, preceded by a boatload of discs from his days leading Amsterdam’s Concertgebouw (five versions) and subsequent recordings with the orchestras of Berlin, Chicago and London. Despite his apparent affection for Mahler’s work in general and this symphony in particular, his name does not often rise to the top of the list in this repertoire as often as those of Bernstein, Kubelik or Abbado. This latest incarnation may settle the score in this regard, thanks to the excellence of the Bavarian Radio Symphony Orchestra in this splendidly recorded disc. Haitink is particularly fine in the central sections of this sprawling six-movement work, the lengthiest symphony in the standard symphonic repertoire. The fleetness of the second movement is utterly charming while the third movement’s vivid rusticity includes a very simply played posthorn solo, which is too often over-sentimentalized. The fourth and fifth movements introduce vocal elements to the work and feature mezzo-soprano Gerhild Romberger in a merely adequate reading of Mahler’s setting of Nietzsche’s Midnight Song; the oboe solo here also skirts around the quite striking minor-third glissando called for by Mahler. The pace picks up again with the excellent Augsburger Domsingknaben boys’ choir joining Frau Romberger and the BRSO women’s chorus for the following Es sungen drei Engel movement. I was quite pleased with the well-nigh perfect Finale, which builds inexorably to a masterful climax marked by mellifluous contributions from the admirable brass section. My only major reservation concerns the vast first movement, which Mahler subtitled with the motto, “Pan awakes – Summer marches in;” I did not feel Haitink’s circumspect approach completely exploited the chaotic play of elemental forces at work here. However, the fluidity of the finale more than makes up for this shortcoming and I have no hesitation in recommending this live recording from June of 2016. Daniel Foley Strauss – Ein Alpensinfonie; Tod und Verklarung Symphonieorchester des Bayerischen Rundfunks; Mariss Jansons BR Klassik 900148 !! Long in gestation with its roots extending down to the composer’s teenage years, Richard Strauss’ Alpine Symphony is the last and arguably the greatest of his series of orchestral tone poems. After many false starts, he began to work seriously on the score in 1911, prompted in part by circumstances surrounding the death of his esteemed colleague Gustav Mahler. It was completed and premiered in 1915 under the composer’s direction. Strauss proudly proclaimed that with this work, which is scored for a gargantuan ensemble of 130 musicians, he finally understood how to orchestrate. You can take his word for that! Strauss indicated 22 distinct scenarios, some lasting less than half a minute, in the score of this musical depiction of a hike up and down the Bavarian Alps through forests and meadows in weather both fair and foul. The work is on one level naively descriptive (some might say crassly cinematic) yet there remains a greater dimension to the Alpine Symphony in its vivid celebration of the power of Nature, comparable in an oblique way with Mahler’s Third Symphony. It hardly comes as a surprise that the exemplary Munich orchestra does their level best to honour the reputation of Bavaria’s greatest composer, nor that they are in complete accord with their cherished principal conductor (Jansons’ contract was recently extended to the year 2023, a commitment of 20 years since his arrival). The performance is utterly transcendent and the live recording from October of 2016 is richly detailed. A significant bonus is included in the form of an equally fine 2014 live performance of Strauss’ popular tone poem of 1888, Death and Transfiguration. Of the numerous renderings currently available of this grandiose Alpine work this one rises triumphantly to the summit with the greats. Not to be missed! Daniel Foley MODERN AND CONTEMPORARY Romanza – Music from Spain and South America Azuline Duo Independent (azulineduo.com) !! The Azuline Duo’s program on this, their first CD, is a winning combination of well-known pieces by Granados, Villa- Lobos, da Falla and Piazzolla and music new to most of us by two Argentinean guitarists/composers, José Luís Merlin and Máximo Diego Pujol. Some highlights are Villa-Lobos’ Distribuiçao los flores, where flutist Sara Traficante’s controlled vibrato and evocative changes of tone colour and dynamics are just right. In Piazzolla’s Libertango her extended technique tone-bending gets things off to a great start and she plays the tango as if she knows how to dance the tango (maybe she does!). She brings a lovely, haunting sound – a bit husky and not too loud – to Merlin’s Evocacion – conjuring up an air of mystery; and in his Joropo (a joyful Venezuelan dance, according to the notes) she handles the technical challenges with verve. However, particularly in the Spanish Dances by da Falla and Granados and in the Suite by Pujol I longed to hear more depth in her sound. Emma Rush is a fine guitarist, a rock of stability, poised and rhythmically solid – a joy to play with, I’m sure Traficante would agree – although sometimes I found myself wishing she would let down her hair a bit and let her guitar “gently weep.” These qualities, we all understand, take time and life experience to develop, and the excellent work so evident in this CD gives me confidence that they will come. Allan Pulker Garden of Joys and Sorrows Hat Trick Bridge Records 9472 bridgerecords.com !! This CD features the first recording of Debussy’s Sonata for Flute, Viola, and Harp (1915) using the new Carl Fischer edition, incorporating original score details differing from the initial publication. The opening Pastorale is somewhat reminiscent of Debussy’s piano prelude The Girl with the Flaxen Hair, yet more mysterious. The New York-based trio Hat Trick plays it with suggestions of light and colour, but without the languorous drooping at cadences I have heard sometimes. In the Interlude following, Hat Trick again thewholenote.com March 1, 2017 - April 7, 2017 | 77
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!
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!).
