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!
MODERN AND CONTEMPORARY
MODERN AND CONTEMPORARY Shostakovich – The Golden Age Bolshoi Ballet BelAir BAC443 !! A friend and I watched this video of, as we used to call it, The Age of Gold, with neither of us knowing the story nor what they were dancing about. Nevertheless, it was so brilliant that we watched it with delight for quite some time, simply revelling in the joyous and boisterous music while captivated by the goings-on onstage. Shostakovich had a gift for musical satire, as his opera The Nose exemplifies. This story plays out on the floor of the Golden Age, a restaurant in the south of Russia and a favorite haunt of petty criminals in the 1920s. Interlaced with a floor show in progress at the restaurant, a young girl, Rita, now known as Mademoiselle Margot, is desired both by Boris, a young fisherman and aspiring actor and Jacques, Rita’s dance partner, in reality Yashka, the leader of a local gang of bandits. Inevitably, as in any good melodrama, eventually someone is stabbed to death. The librettist and choreographer is the legendary Yuri Grigorovich, well known and adored in ballet circles. Thanks to Shostakovich and Grigorovich the action is vibrant and non-stop. There are a few familiar tunes, including the Polka and Tea for Two. For those in the know, the principal dancers are Nina Kaptsova (Rita), Ruslan Skvortsov (Boris), Mikhail Lobukhin (Yashka), Ekaterina Krysanova (Lyuska, Yashka’s accomplice) and Vyacheslav Lopatin (variety show compere at the Golden Age). The high-definition video is, as expected, breathtakingly real, as is the usual astonishing virtuosity of the Bolshoi orchestra as heard in earlier releases. For fans of Shostakovich and/or Grigorovich this is a self-recommending must-have. As we are getting to that time of year, here are two apropos serious gift suggestions: The Great Bolshoi Ballets: four Blu-ray discs in one package – Nutcracker, Sleeping Beauty, Giselle and The Flames of Paris (BelAir BAC610), breathtaking in every respect; and Shostakovich: The Complete Symphonies & Concertos with Valery Gergiev and the Orchestra and Chorus of the Mariinsky Theatre & six soloists (Arthaus Musik 107552, four Blu-ray discs plus hardbound book). These are definitive live performances recorded over the span of a year in the Salle Pleyel in Paris. Unique. Bruce Surtees George Antheil – Symphonies 4 and 5 BBC Philharmonic; John Storgårds Chandos CHAN 10941 !! Best remembered for his futuristic Ballet mécanique of 1926, the New Jerseyborn pianist and composer George Antheil (1900- 1959) was in his youth the darling of the Parisian avant-garde and a rising star of American music. Alas, his attempt to replicate his Parisian acclaim with an ambitious, high-profile American remounting of this work at Carnegie Hall in 1927 was a disaster from which the selfproclaimed “Bad Boy of Music” was slow to recover. His scandalous score (originally conceived for an orchestra of player pianos, percussionists and airplane propeller) was not to be heard again for 60 years. Dejected, the pugnacious, pistol-packing composer eventually found work in Hollywood, where he scored films and worked as a journalist. The patriotic fervour of wartime 1940s America brought him back into the spotlight with a catalogue of works radically more conventional than those of his youth. Antheil’s Symphony No.4 (subtitled “1942”) was broadcast nationwide by Stokowski in 1944 to great acclaim and received numerous subsequent performances. Later Eugene Ormandy would come calling to commission his “Joyous” Symphony No.5 (1948) for the Philadelphia Orchestra. Throughout the 1950s however, the quest for the “Great American Symphony” faded along with Antheil’s career. He died suddenly in 1959 of a heart attack. The numerous tempo changes noted in the track details to the movements of these two symphonies hint at Antheil’s problematic sectional approach to composition. It is a challenge for any conductor to tie so many mood swings together coherently, a task that Storgårds for the most part achieves, though to my mind Hugh Wolff’s CPO recording of the same symphonies with the Frankfurt RSO from the year 2000 is superior in this regard. Despite the patchwork nature of Antheil’s music there is never a dull moment; the listener, though perhaps a tad confused, will find the music consistently engaging and effectively orchestrated. Surprisingly, despite the self-consciously upbeat all-American profile of these works, both symphonies exhibit strong influences from the leading Soviet composers of the era, notably the obsessive dactylic rhythms of Shostakovich and the harmonic twists of Prokofiev. A bonus track brings us the first recording of Antheil’s Over the Plains (1945), a cinematic evocation of the landscape of Texas. All told, an intriguing and enjoyable album, quite plushly recorded and very keenly played. Daniel Foley Facets Cline/Cuestas Duo Independent (clinecuestasduo.com) !! There are many fine flutists in the world these days, and Jenny Cline of the Cline/Cuestas Duo is definitely one of them. She and guitarist Carlos Cuestas have put together a terrific program which combines four substantial contemporary compositions balanced by music from the late 19th and the early- and the mid-20th centuries. At 15 minutes, Maximo Diego Pujol’s Suite Buenos Aires is the longest of the four contemporary pieces. Composed in 1995, its four movements depict different parts of the city after which it is named. The slow second movement is particularly exquisite, opening with a guitar solo beautifully played by Cuestas, setting up Cline for the heartrending solo which follows. The last movement too, is particularly noteworthy, bristling with excitement and precise teamwork. Among the earlier compositions are six of Bartók’s Romanian Dances and Enrique Granados’ Danza Española No. 5: Andaluza, from which the duo draws haunting nostalgia for times past in pre-cataclysm Eastern Europe and Spain respectively. Daniel Dorff’s Serenade to Eve, After Rodin (1999), beginning passionately lyrical and moving to an astonishing virtuosic conclusion, is yet another great addition to the contemporary repertoire for flute and guitar. So too is Gary Schocker’s Silk Worms, music of great refinement commissioned by the duo in 2013 and interpreted here with warmth and conviction. Credit also goes to Oscar Zambrano, who mastered the recording, for really getting the balance between the two instruments just right. Congratulations to all who were involved for an excellent first CD. Allan Pulker Klezmer Dreams André Moisan; Quatuor Molinari; Jean Saulnier ATMA ACD2 2738 (atmaclassique.com) ! ! Originating hundreds of year ago, the roots of klezmer, the instrumental party music of Ashkenazi Jewish communities, were enriched by contact with the music of the people of Central and Eastern Europe and beginning in the early 20th century, with jazz. The performance of klezmer music generally 76 | November2017 thewholenote.com
declined as the last century progressed. Beginning in the 1970s a grassroots revival spread out from its North American base, today’s klezmer scene (re)embraces the globe. Arab, Indian, Celtic and Korean musicians are getting in on the act. Earlier this year Amalia Rubin’s performance of a 1927 Yiddish song on Mongolian TV’s version of American Idol, accompanied by six Mongolian instrumentalists, garnered thousands of likes on social media. Despite its transnational appeal, there are, however, essential features which distinguish klezmer music. Glissandi and syncopation that evoke laughter or sobs, ornamentation of the melody reflecting the inflections of the human voice, and melodies moving within the tonal modes of Central/Eastern Europe are just three. Emotional mood is also often sharply delineated, ranging from deep melancholy to dancing exuberance. Classical concert composers have been attracted by klezmer’s vibrancy too. Five are represented in the very satisfying album Klezmer Dreams, including two Canadians, Srul Irving Glick (1934-2002) and Airat Ichmouratov (b.1973). Sergei Prokofiev’s Overture on Hebrew Themes (1919) for clarinet, piano and string quartet is the oldest composition on this disc. Prokofiev retains the folkloric flavour of the Jewish melodies he borrowed while maintaining his idiosyncratic composer voice, this time rendered in a light tone. At over 35 minutes The Dreams and Prayers of Isaac the Blind (1994) for Klezmer clarinet and string quartet, by Argentinian- American composer Osvaldo Golijov (b.1960), is by far the longest and stylistically most adventurous score here. It features the brilliant and stylistically spot-on Klezmorim clarinet solos of Montrealer André Moisan. Starting and ending with a prayer, “Thou pass and record, count and visit, every living soul, appointing the measure of every creature’s life and decreeing its destiny,” this substantial work definitively demonstrates the reach of klezmer – once considered folk party music – deep into the concert hall. Andrew Timar Toy Piano Composers Toy Piano Composers Ensemble; Pratik Gandhi Redshift Records TK452 (toypianocomposers.com) !! There can be few more reliable guarantees of contemporary music that is both thoughtful and entertaining than when the name Toy Piano Composers (TPC) appears on the tin. Founded by pianists and composers Monica Pearce and Chris Thornborrow, and now with a decade of growth in performance that has included over 120 new works in various formats from chamber and orchestral to operatic, TPC, fronted by its ensemble, has grown exponentially in performance and in creativity. Fuelled as much by Reich, Riley, Glass and Pärt as by the unfettered creativity of young questing minds, the composers in the collective as well as its performing ensemble have continually pushed the proverbial envelope and the ceaselessly receding horizon, with music that has swelled with classical elegance and avant-garde subversion. This album – simply bearing the collective’s name – appears to be the first by a group that has focused so far solely on performance. In keeping with the mission to create something new and remain in the continuum of the classical tradition, these seven works, written by various composers from 2010 to 2014, are performed by the TPC Ensemble, a group of nine instruments of contrasting character. Together they are famously at ease with the most testing new music for traditional acoustic instruments plus toy piano. From Clangor (Pearce) to Hermes’ Lure (Ruth Guechtal) and Modus Operandi (Nancy Tam), the TCP Ensemble may seem stretched to the limit but are equal to the challenge. Raul da Gama Charles Wuorinen Vol. 3 loadbang; Anne-Marie McDermott; Group for Contemporary Music; Charles Wuorinen Bridge Records 9490 (bridgerecords.com) !! Among the most prolific of contemporary American composers, the 79-year old Charles Wuorinen’s catalogue of 260-plus compositions includes works for opera, orchestra and chamber music, as well as solo instruments and voice. He has received many awards, including the Pulitzer Prize and the MacArthur Fellowship. The 2014 Madrid premiere of Wuorinen’s opera, set on Annie Proulx’s Brokeback Mountain, was covered by international media and has had several subsequent European productions. Anthony Tommasini in his 2014 New York Times review characterized Wuorinen as an “unabashedly complex Modernist.” And while in 2008 Wuorinen called the term serialism “almost without meaning,” nevertheless his career-long commitment to 12-tone composition is clear, with Schoenberg, Berg, late Stravinsky and Babbitt cited among primary influences. Fractals and Mandelbrot mathematical sets are also central to Wuorinen’s recent compositional procedures. Much of Wuorinen’s music makes great technical demands on musicians, including tonal leaps, extreme dynamic contrasts, and rapid exchange of pitches, all requiring extreme precision and virtuosity. This is all on ample display in the three works on Charles Wuorinen, Vol. 3. The album opens with Alphabetical Ashbery (2013) a song cycle/motet marked by the free-flowing, playful and often disjunctive poems by the American poet John Ashbery performed by the unique forces of loadbang: Jeffrey Gavett, baritone, Carlos Cordeiro, bass clarinet, Andy Kozar, trumpet and William Lang, trombone. The muscular and substantial Fourth Piano Sonata (2007), the latest and most traditionally structured of Wuorinen’s works in this genre, is definitively rendered by the brilliant pianist Anne- Marie McDermott. It Happens Like This (2010) closes the CD. At just over 39 minutes in seven bite-sized movements, this fourvoice cantata is set to American modernist James Tate’s surrealistic poems, providing a charming close to our musical visit with one of America’s enduring elder statesmen of composition. Andrew Timar Rhapsodies Around the World Guy Yehuda; Deborah Moriarty Blue Griffin Records BGR441 (bluegriffin.com) ! ! An ambitious project launched by clarinetist Guy Yehuda resulted in six new works for clarinet and piano, all somehow influenced by Claude Debussy’s Première Rhapsodie. Rhapsodies Around the World is a fair description of the contents, as all the continents are represented by the diverse set of composers Yehuda chose to commission. The disc opens with his performance of the model work, and Yehuda demonstrates a decent finesse with this always-difficult piece. His reading is marked by certain injections of personality, if that’s the right word. Over time a well-worn piece might seem to beg for reinterpretation, and one is always free to provide one, just as a listener is free to like or dislike the layering of liberties pasted on the original. I’m grateful nonetheless to the performer for this collection. The various spinoffs most resemble the original only in duration, each between eight and ten minutes in length. The composers provide an accounting of their approach to the project’s requirements, some more prolix than others. The essay by Michel Petrossian describing his Timkat Song bears so much analysis on its own that one might forget the fine piece of music it describes. American violinist/composer Piotr Szewczyk’s Luminous Rhapsody reminds me of the music of Joan Tower. Yao Chen almost literally recalls the original Rhapsodie at the outset of Through Waters, By Mountains. Clare Loveday of South Africa wrote Heatwave during a real heat wave, gave up thewholenote.com November2017 | 77
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!).
