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!
REMEMBERING DEEP
REMEMBERING DEEP GRATITUDE Listening for Pauline Oliveros Wendalyn Bartley in conversation with Tina Pearson November 24 2017 will mark one year since the passing of Pauline Oliveros, a beautiful soul who brought to the world the practice of what she called Deep Listening. To mark this occasion, there will be an event on November 28 Tina Pearson at Array Space titled “Gratitude Listening for Pauline Oliveros” for people to gather to listen and sound in gratitude for what Pauline offered. I spoke recently with Tina Pearson who has had a personal connection with Pauline since the late 1970s, and whose inspiration it was to have this event. Pearson was active in the new music community in Toronto during the 1970s and 80s, as a performer with the New Music Cooperative, a collaborator with TIDE (Toronto Independent Dance Enterprise) among others, and as the editor of Musicworks. Currently living in Victoria, Pearson was here this past summer as composer in residence with Contact Contemporary Music, offering an intensive workshop on Deep Listening at the Canadian Music Centre as well as a community-based Deep Listening workshop that I organized. She also facilitated the creation of a new work titled Root, Blood, Fractal, Breath for the Contact Ensemble performed at Allan Gardens. Pearson is a Deep Listening Certificate holder. I began by asking about her first encounter with Pauline Oliveros and the impact Pauline had on her as a composer and performer I first heard of Pauline through Jim Tenney (who taught composition at York University from 1976 to 2000), but met her in person when she came to the Music Gallery in November of 1979, where she was invited to present her Sonic Meditations. Experiencing her practice was quite powerful and validating. Suddenly the world opened up. Pauline seemed untethered from the masculine contexts of contemporary Western European art music and jazz-based free improvisation. She was a brilliant, strong, compassionate and attentive woman presenting an opportunity to everyone to listen in a complete and deep way. One of the remarkable things about Pauline was that she could be in the same moment so absolutely connecting personally as well as globally. During her visit, I recorded and transcribed the interview that Andrew Timar conducted with Pauline for Musicworks. In those days [when I transcribed] I transcribed everything – every pause, nuance and emphasis. Listening so deeply to her voice and her expression while transcribing that interview was quite significant and I think some resonance of that stayed with me. Afterwards, I kept in touch with her. Pauline was incredibly encouraging and generous with her time and support, especially of women. I started working with her Sonic Meditations, and incorporated her ideas about listening and attention in collaborations with the New Music Cooperative, with TIDE and in a project with David Mott titled Oxygen Tonic. I also started teaching Sound Studies at OCAD in 1983, and used the Sonic Meditations in those classes each year. Looking back now, I’m aware that there was an opening up in the thinking that many of us had about our approach to music which were in part influenced by Pauline’s ideas of embodied listening as performers and creators. I was already considering the separation between audience and performer in concert music, for example, so one of the welcome revelations, among many, about Pauline’s approach was her absolute commitment to taking into account the experience of everyone: the witnesses, the audience, the participants, and the performers.” I then asked Tina to relate these earlier experiences to her recent experiences in Toronto this past summer facilitating Deep Listening Workshops: Facilitating the Deep Listening intensives this summer was heartening. The participants were very open and able to quickly understand and take in this practice. The capacity for listening was there, and as Pauline believed would happen it is continually growing and deepening: The more listening there is, the more listening there will be. I then asked her to say more about the focus and intention for the upcoming “Gratitude Listening for Pauline Oliveros” event happening on November 28 at Array Space: The idea for this free event is to acknowledge the one-year anniversary of Pauline’s passing and to give gratitude to her. The quality, depth and acuity of Pauline’s sensibility about listening is rare. There’s nobody else who has embodied a listening practice like she has. Her courageous approach to listening and attention, and letting that guide where one goes and how one approaches life and one’s work, is something that’s so essential, and quite a beacon. The deep compassion that comes when one is attending to listening is important right now – the notion that listening can be a response to anything. There will be a performance by several local performers of Pauline Oliveros’ work Arctic Air, which includes the text The Earth Worm Also Sings, written originally for the 1992 Glenn Gould Technology and Music Symposium held in Toronto. In addition, everyone will be able to participate in two of her Sonic Meditations, and there will be an opportunity for people to speak about their memories and Pauline’s impact. And of course, everyone is welcome. Wendalyn Bartley is a Toronto-based composer and electro-vocal sound artist. sounddreaming@gmail.com. 64 | November2017 thewholenote.com
MUSIC AND HEALTH Life After Injury VIVIEN FELLEGI She will always remember those moments of perfection during her best performances. Eyes half closed, she sways to the beat, blonde mane swinging back and forth. Her fingers dance effortlessly over the frets of her guitar. Time and space shrink to a pinpoint and only the music is real. It didn’t happen at every concert. But when she got in the zone, nothing else could beat that rush. “It’s an out-of-body experience – it’s like being in love,” says 68-year-old Canadian guitar legend Liona Boyd. But in 2000, these moments of bliss stuttered to a stop. While her technique once flowed almost effortlessly, Boyd began struggling to control the movements of her right middle finger. For the first time in her career, her smooth tremolos, once deemed the best in her business, became jagged. Her arpeggios followed suit. At first Boyd was hopeful that the mysterious ailment could be fixed. She quit playing and trudged from one health practitioner to the next, enduring hypnotherapy, botox injections, and even an immersion into Scientology. “Every therapy you think will work, then your hopes are dashed.” Eventually Boyd was diagnosed with musician’s focal dystonia, an overuse condition caused by mindless and frequent repetition of movements, which burn out the brain signals controlling muscle function. The diagnosis forced her to confront the bitter edge of reality. “I would never be the guitar virtuoso I once was – it was heartbreaking.” Boyd is not alone. Eighty-four per cent of musicians will face a significant injury during their lifetimes, says physician Dr. John Chong, medical director of the Musicians’ Clinics of Canada. Musicians make extreme demands on their bodies, practising the same notes up to six hours without a break. “There is no off switch in the excellence-driven process,” says Chong. Chronic stress also plays a role in generating injuries. Workplace conditions, including job insecurity, ramp up muscle tension amongst performers, making them more prone to strains. The emotional fallout can be disastrous. Musicians’ injuries are devastating because music is not just a livelihood, it’s their identity, says Lynda Mainwaring, registered psychologist and associate professor of kinesiology and physical education at the University of Toronto. Injuries also deprive performers of the joy brought about by the flow state, a transcendent experience where they lose themselves in concentration. “Flow can be a way of coping and forgetting problems – if musicians can’t get there, they’ll be frustrated.” For some musicians, injuries rupture the harmonious relationships with their instruments, says osteopath Jennie Morton, wellness professor at the Colburn School in Los Angeles. Many view their violins and oboes as almost human, even going so far as to name them. “But when things go wrong, their former friends can turn into enemies,” says Morton. Boyd was devastated by her condition, shedding tears every time she tried to coax her guitar to cooperate. “The joy was robbed – that was the worst thing.” It was almost as if her beloved guitar had turned against her. “You feel your best friend has let you down.” Liona Boyd Denial compounds injuries. Half of injured musicians play hurt, says Chong. From a young age, musicians are trained to sacrifice their well-being for the greater good of the audience. They are also reluctant to draw attention to their health issues because they fear losing solos as well as job opportunities. But playing through pain worsens the problem. For a while Boyd too tried to combat her wayward finger. She ramped up her practising, but that only worsened the dystonia. Later, after her diagnosis, Boyd kept it under wraps. “I didn’t want people feeling sorry for me.” Fortunately, there are constructive ways to deal with injuries. Rapid diagnosis and treatment by a physician trained in musicians’ health will resolve many conditions, says Chong. But in one study, 50 per cent of injured musicians felt they had never fully recovered, says Morton. When injuries impact their careers, musicians need to allow themselves to grieve, says Mainwaring. “The loss of that part of life is like a death.” Some benefit from expressing their feelings through writing, while others prefer talking to a therapist. Deep breathing, mindfulness meditation, yoga and exercise can all help to relax tense muscles, says Morton. Reaching out for support, especially from other musicians who have gone through similar crises can be reassuring, says Mainwaring. “It helps them feel they’re not alone.” As injured musicians begin to reconstruct their lives, it’s important for them to dig down deep and figure out why they picked up their instruments in the first place, says Dr. Chase McMurren, MD, medical director and psychotherapist at the Al & Malka Green Artists’ Health Centre at the Toronto Western Hospital. Most just wanted to make beautiful music, not caring if they made mistakes. But over the course of their careers, many have internalized the expectations of their teachers and families, and absorbed the competition for fame and money. Injured musicians need to discard the weight of these burdens and try to recoup the pure thrill of their artistry. Even if they’ve stopped playing, musicians can still participate in their craft, says Mainwaring. Sidelined artists can contribute to their profession by sharing how they dealt with their own setbacks. Teaching music can be another fulfilling option. But injured performers can also find solace outside their métier. If music has always been the driving purpose in their lives, they need to unearth new sources of meaning, says Mainwaring. This could mean spending more time with family, or possibly switching to a new vocation. “They will be more fulfilled if they have other satisfying outlets.” Toronto Symphony Orchestra viola player, Daniel Blackman, had to reconstruct his life after a career-threatening injury. In the summer of 2010 he was struck by a car while cycling and left for dead. He woke up in St. Joseph’s Hospital with a collapsed lung, a concussion and multiple fractures. But the worst problem for his career was nerve damage and reduced flexibility in his left, instrument-holding arm. It wasn’t until he was home that the impact of his accident sank in. He feared he might never regain his top form. “If you have a career and it’s taken away, you feel like your life as you knew it has come to a close.” Blackman lay in bed, day after day, riddled with self-pity. DEAN MARRANTZ thewholenote.com November2017 | 65
Choral Scene: Uncharted territory: three choirs finding paths forward; Music Theatre: Loose Tea on the boil with Alaina Viau’s Dead Reckoning; In with the New: what happens to soundart when climate change meets COVID-19; Call to action: diversity, accountability, and reform in post-secondary jazz studies; 9th Annual TIFF Tips: a filmfest like no other; Remembering: Leon Fleisher; DISCoveries: a NY state of mind; 25th anniversary stroll-through; and more.
Online in flip through here, and on stands commencing Tues SEP 1.
Following the Goldberg trail from Gould to Lang Lang; Measha Brueggergosman and Edwin Huizinga on face to face collaboration in strange times; diggings into dance as FFDN keeps live alive; "Classical unicorn?" - Luke Welch reflects on life as a Black classical pianist; Debashis Sinha's adventures in sound art; choral lessons from Skagit Valley; and the 21st annual WholeNote Blue Pages (part 1 of 3) in print and online. Here now. And, yes, still in print, with distribution starting Thursday October 1.
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!).
