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Volume 23 Issue 1 - September 2017

  • Text
  • September
  • Toronto
  • Jazz
  • Orchestra
  • Musical
  • October
  • Recording
  • Composer
  • Symphony
  • Theatre
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!

Elmer Iseler ingers

Elmer Iseler ingers 2017 - 2018 TORONTO S CONCERT SERIES Lydia Adams, Conductor and Artistic Director 39th Season Primadonna featuring the zany duo Mary Lou Fallis and Peter Tiefenbach Sunday, October 15, 2017 at 4:00 pm Eglinton St. George’s United Church 35 Lytton Blvd., Toronto (at Bond Street) J.S. Bach’s Christmas Oratorio CANTATAS 1, 2 & 3 Friday, December 1, 2017 at 8:00 pm Metropolitan United Church 56 Queen Street East, Toronto (at Bond Street) A special co-production with the Amadeus Choir of Greater Toronto Special Guest Artists: Monica Whicher, Soprano Marjorie Maltais, Mezzo Soprano Christopher Mayell, Tenor Dion Mazarolle, Baritone and full orchestra The Little Match Girl Passion Sunday, February 25, 2018 at 4:00 pm Eglinton St. George’s United Church 35 Lytton Blvd. Toronto (at Bond Street) “The Little Match Girl Passion” by David Lang is a musical composition based on the Hans Christian Andersen story, “ The Little Match Girl ”. It is influenced by Johann Sebastian Bach’ s St Matthew Passion and has won a Pulitzer Prize. The Fauré Requiem, with Shawn Grenke, organist, will also be performed. Joyful Sounds a Tribute to Elmer Iseler, 1927-1998 -- twenty years later Saturday, April 14, 2018 at 7:30 pm Eglinton St. George’s United Church 35 Lytton Blvd. Toronto Featuring a new commission by renowned Canadian composer Imant Raminsh. A multimedia concert with special guest artists, hosted by composer/producer David Jaeger. 416-217-0537 www.elmeriselersingers.com young students who are pursuing careers as organists and educators, and several have gone on to gain professional standing and significant church positions. Coupled with studies privately and at the university level, Organix is a vital part in ensuring the future as each becomes an alumnus of the festival and is an ambassador of it and of the industry itself. I expect that these same emerging artists will take on an important role as advocates for the promotion of the organ in many different ways, some of which we cannot fully appreciate at this time. WN: Organix recently diversified, presenting weekly afternoon recitals in addition to your Festival series. Why do you see the organ as something worth investing in? And where do electronic organs fit into Organix’s future? GM: It is important to invest in the organ, because there is such a significant catalogue of music written for it as a solo instrument and as a collaborator for ensembles and orchestras. With continued interest, particularly from young musicians and enthusiasts, there is a market that should be generously nurtured and supported. Most of Toronto’s pipe organs are in the downtown core, and there is a large population beyond that has yet to hear a great concert of organ music. Digital organs become a viable alternative and the preferred instrument beyond downtown. The benefits of digital organs are many, but in particular, the repertoire for the instrument continues to live and thrive on the best digital examples. With this added exposure outside of the downtown core, Organix will continue to promote professional organists, organs and organ repertoire to many first-time concert goers. It is not an either/or situation between digital and pipe – it is a collaboration that will keep our industry alive. Elaine Choi, director of music and Stephen Boda, principal organist at Timothy Eaton Memorial Church WN: I notice that in addition to partnering with Organix TEMC has recently partnered with other churches “on-the-Hill” for various performances such as the Duruflé Requiem. EC: TEMC’s music team enjoys collaborating with other ensembles and organizations. These collaborations enable us to broaden our repertoire and reach out to a bigger audience. SB: We’re really looking forward to hosting Mario Ciferri this year as part of the Organix series. We have an organ-loving congregation and look for every opportunity to feature the instrument in concert. We are grateful to Gordon Mansell for organizing this event and also the masterclass, which features young organists from Toronto. WN: At a time when many see the pipe organ (and churches themselves) in rapid decline, what is the importance of fostering young talent and interest through events such as this masterclass? SB: I think it’s very important to continue introducing young people to the organ; it is such a fascinating instrument and deserves to be shared and cherished. International artists such as Mario Ciferri coming to town give young artists new perspectives, and we are looking forward to it. WN: A new antiphonal division was recently added to your already significantly sized pipe organ. With a music program already featuring a variety of instruments and ensembles, what role do you see the refurbished and enhanced organ taking in the future of your music program? SB: The organ already has a fantastic sound and adding more pipes (we added 1000 new pipes, which brings us to a total of 7000) makes the instrument even more grand and musical. It also greatly widens the musical possibilities. Since the new pipes are located in the back of the church, it gives a surround-sound feel when the organ is played all together and the possibility to alternate or create solo/accompaniment textures from across the room. As a musician, it is incredible that we are able to add to our instrument and we are very thankful for the donations that made this possible! EC: We are already seeing a change in our Sunday services. The antiphonal division certainly helps with supporting congregation and their hymn singing. We are finding more opportunities to explore and utilize the new division – the potential is endless! Matthew Whitfield is a Toronto-based harpsichordist and organist. 24 | September 2017 thewholenote.com

St. Michael’s Concerts 2017 – 2018 Concert Season Tuesday, Sept. 26 | 7:30 p.m. Sistine Chapel Choir Maestro Direttore: Massimo Palombella Friday, Oct. 13 | 7:00 p.m. Founder’s Day Concert WITH GLOWING HEARTS 150 Years of Canadian Sacred Music St. Michael’s Choir School Tuesday, Oct. 24 | 7:00 p.m. Duo Voce Humana Franck Besingrand, organ Marie-Noëlle Cros, soprano Friday, Nov. 24 | 7:00 p.m. Organ Spectacular FAVOURITES BY THE CATHEDRAL ORGANISTS: John Paul Farahat, Christopher Ku, Paul Jenkins, William O’Meara, Manuel Piazza Sunday, Dec. 17 | 3:00 p.m. Advent Lessons and Carols St. Michael’s Choir School Tuesday, Feb. 27 | 7:00 p.m. Vesuvius Ensemble “PASSIO” – THE MATER DOLOROSA IN POPULAR TRADITION Music from Southern Italy Francesco Pellegrino Marco Cera Lucas Harris Saturday, Apr. 14 | 7:30 p.m. Messiah (Part II & III) G. F. Handel Cathedral Schola Cantorum Men & Boys Baroque Orchestra Meredith Hall, soprano Richard Whitall, alto Simon Honeyman, alto Michael Colvin, tenor Joel Allison, bass Conductor: Peter Mahon Friday, May 11 | 7:00 p.m. Spring Concert St. Michael’s Choir School Friday, June 15 | 7:00 p.m. The Glory of Chant Gregorian chant with improvisations by Charles Tournemire, transcribed from recordings made in 1930 at the Basilique Ste-Clotilde, Paris. Cathedral Schola Cantorum William O’Meara, organ Suggested donation for each concert is .00 A tax receipt will be issued early in the new year if your total donation for the current year is .00 or more St. Michael’s Cathedral Basilica & St. Michael’s Choir School 65 Bond Street Toronto, ON M5B 1X5 416-364-0234 stmichaelscathedral.com/concerts thewholenote.com September 2017 | 25

Volumes 21-25 (2015-2019)

Volume 25 Issue 4 - December 2019 / January 2020
Volume 25 Issue 2 - October 2019
Volume 25 Issue 1 - September 2019
Volume 24 Issue 8 - May 2019
Volume 24 Issue 7 - April 2019
Volume 24 Issue 6 - March 2019
Volume 24 Issue 5 - February 2019
Volume 24 Issue 4 - December 2018 / January 2019
Volume 24 Issue 3 - November 2018
Volume 24 Issue 2 - October 2018
Volume 24 Issue 1 - September 2018
Volume 23 Issue 9 - June / July / August 2018
Volume 23 Issue 8 - May 2018
Volume 23 Issue 7 - April 2018
Volume 23 Issue 6 - March 2018
Volume 23 Issue 4 - December 2017 / January 2018
Volume 23 Issue 3 - November 2017
Volume 23 Issue 2 - October 2017
Volume 23 Issue 1 - September 2017
Volume 22 Issue 9 - Summer 2017
Volume 22 Issue 8 - May 2017
Volume 22 Issue 7 - April 2017
Volume 22 Issue 6 - March 2017
Volume 22 Issue 5 - February 2017
Volume 22 Issue 4 - December 2016/January 2017
Volume 22 Issue 2 - October 2016
Volume 22 Issue 1 - September 2016
Volume 21 Issue 9 - Summer 2016
Volume 21 Issue 8 - May 2016
Volume 21 Issue 6 - March 2016
Volume 21 Issue 5 - February 2016
Volume 21 Issue 4 - December 2015/January 2016
Volume 21 Issue 3 - November 2015
Volume 21 Issue 2 - October 2015
Volume 21 Issue 1 - September 2015

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