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Volume 23 Issue 6 - March 2018

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  • Toronto
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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.

Beat by Beat | Early

Beat by Beat | Early Music An Audition for the Ages: Bach’s Mass in B Minor MATTHEW WHITFIELD Master drummer Kwasi Dunyo leads ensembles in both festivals. Burgess’ Caribbean Music Ensemble in the Tribute Communities Recital Hall. York’s World Music Festival continues the next day, at noon on March 16, with the Korean Drum Ensemble directed by Charles Hong at the Tribute Communities Recital Hall. Sherry Johnson then directs the Celtic Ensemble, followed by the Chinese Classical Orchestra directed by Kim Chow-Morris. The festival wraps at 7:30pm with a performance of ethnomusicologist Irene Markoff’s Balkan Music Ensemble. World Music Ensembles: Spring Festival, University of Toronto Now just a 13-stop, single-line subway ride south from York U to Museum Station, U of T’s Faculty of Music also has a rich history of offering world music classes and engaging Toronto audiences in their performances. I attended world music ensemble concerts at Walter Hall in the 1980s and in following decades. I always encountered new and ear-opening music that enriched my multicultural palette. The Faculty of Music’s World Music Ensembles website states that the “program at the University of Toronto has for many years enriched the musical lives of our students and has provided alternative perspectives on learning and making music by offering training in various world traditions. The ensembles vary from year to year. We have also been able to take advantage of an ensemble led by our annual visitor in the World Music artist-in-residence program [between 2007 and 2016].” So we continue our “world music goes to college” theme back downtown, with a concert March 23 at 12 noon featuring the popular, long-running African Drumming and Dancing Ensemble. Under the dynamic direction of the Toronto-based master drummer Kwasi Dunyo, the event takes place at Walter Hall in the Edward Johnson Building. A couple of weeks later, on April 7 at 2:30pm, other World Music Ensembles take the Walter Hall stage in the Faculty of Music’s annual spring concert. The Latin American Music Ensemble, directed by veteran percussionist and composer Mark Duggan, and Steel Pan Ensemble, directed by pan music educator, percussionist and arranger Joe Cullen, have been confirmed. It’s far too soon to tell what the impacts of the TYSSE will be, positive and negative, on the health of nodes of local culture within the region. But for sure I’ll be taking the subway more often in search of music. In both directions. Andrew Timar is a Toronto musician and music writer. He can be contacted at worldmusic@thewholenote.com. Auditions are terrifying experiences for any musician. An important job, an academic scholarship, the future of one’s career, any and all of these can depend on a few nervewracking moments in front of a jury or audition panel. Johann Sebastian Bach was no stranger to auditions, applying for a number of positions, titles and designations throughout his career, in constant pursuit of the next level of 18th-century professional development. In 1733, at the age of 48, Bach sought a court title from Friedrich August II, the newly appointed Elector of Saxony, by presenting a Kyrie and Gloria, submitted as a “trifling product” and gift to the Elector. These two movements constitute the opening of what would become the Mass in B Minor, a monumental (and decidedly Catholic) essay in the Latin rite. A fascinating piece of auto-plagiarism and selfadaptation, the Mass was completed by Bach reusing a Sanctus from the Christmas of 1724 with only minor adjustments and drawing much of the material for the Gloria and Credo from existing works, including a cantata or two. Despite the incredible beauty, complexity and ingenuity displayed throughout its hundreds of pages, there are no records of a performance from Bach’s lifetime and it is assumed that he died before hearing the Mass in B Minor in its entirety. Bach’s Mass, much like Beethoven’s equally majestic and complex Missa Solemnis, is far too long for any practical liturgical use, but we are fortunate that it is performed in concert relatively often, somewhere between the frequency of the St. John Passion and the rarity of the St. Matthew Passion. We are even more fortunate this month as there are three large Bach-themed performances in March, two of which feature the Mass in B Minor. Bach... in B Minor and Beyond The first performance of the Mass in B Minor takes place at the end of March at Metropolitan United Church on Good Friday. A longtime annual tradition featuring the Metropolitan Festival Choir and Orchestra, this is a modern-scale performance featuring a relatively large chorus and modern-instrument ensemble, led by Dr. Patricia Wright. Bach’s music, loaded with Affekt, expressive Dorothee Mields, soprano gestures and profound spirituality, provides an ideal musical backdrop for Good Friday, solemn yet hopeful, with hints of the joy to come on Easter Day. Tafelmusik’s orchestra and chorus focus their attention on Bach’s Mass in B Minor just a week later, April 7, approaching the work with their trademark historically informed outlook. Led by Ivars Taurins and featuring a stellar lineup of soloists including soprano Dorothee Mields, mezzo-soprano Laura Pudwell, tenor Charles Daniels and 26 | March 2018 thewholenote.com

aritone Tyler Duncan, this performance will, as Tafelmusik writes on their website, “captivate your heart and soul from the very opening notes of the Kyrie to the majestic close of the Dona nobis pacem.” Tafelmusik’s previous Mass in B Minor was my first concerted introduction to the beauty of Bach’s choral music, and it remains one of my favourite and most emotionally moving live musical experiences. The third Bach performance taking place this month is not religious in theme, is unrelated to Lent and Easter and does not involve orchestra or chorus. On March 11 in Mazzoleni Hall, pianist and harpsichordist David Louie presents Book I of Bach’s Well-Tempered Clavier, a twovolume collection of preludes and fugues in all major and minor keys that rivals the Mass in B Minor in monumentality, creativity and ingenuity. Louie will play the first set on a two-manual harpsichord designed and modelled after an instrument built by the French harpsichord and piano maker Pascal Taskin (1723-1793). Taskin’s instruments are fine examples of the French school of harpsichord building, featuring a wide range, well-distributed pitch divisions (two eight-foot ranks and a four-foot rank) and a warm and rich tone well-suited for the contrapuntal complexity of late Baroque repertoire, both German (Bach’s partitas, suites and fugues, for example) and French (the masterpieces of Rameau, Couperin and Lully). Not only worthwhile for the repertoire being performed, Louie’s use of a period-inspired instrument will illuminate Bach’s contrapuntal genius in a different light than we hear on a piano, while showcasing Louie’s own technical facility on an instrument with its own unique demands and limitations. Eine Kleine Lentmusik The season of Lent, commonly associated with ashes, sackcloth and penitential abstinence (“What are you giving up for Lent this year?”) abounds with music that, although appropriately dark and dour, is nonetheless beautiful and worth hearing. Here are some notable performances taking place this month: On March 3 the Toronto Chamber Choir presents “Bach’s Foundations,” with works by Johannes Bach, Johann Christian Bach and Johann Michael Bach. Focusing on musically influential members of J.S. Bach’s extended family, this concert will be a fascinating look at the people and pedigree responsible for producing one of music’s greatest minds. I look forward to hearing the similarities and differences in their works and listening for the influence of their great precursor, around whom the entire Bach galaxy revolves. Cor Unum Ensemble, one of Toronto’s up-and-coming Baroque ensembles, presents Pergolesi’s Stabat Mater on March 10 and 11. The text of the Stabat Mater is a popular one – a Catholic prayer to the grieving mother of Christ as she witnesses her son carrying his cross to Calvary – set throughout the centuries by composers including Rheinberger, Dvořák and Rossini. Pergolesi’s Stabat Mater takes the form of a duet for soprano and alto with obbligato instruments, a simple and straightforward setting relative to the massively Romantic settings penned by later composers (which can also be inappropriately cheeky and jovial – I’m looking at you, Rossini…). In addition to music by Pergolesi, Cor Unum will also perform Bach’s Cantata 170 “Vergnügte Ruh” for solo alto and a suite by Lully. Taking place in the visually appealing and acoustically superior Trinity College Chapel, this concert is definitely worth exploring. March is shaping up to be the Month of Bach, both directly and by association! On March 24 the Musicians in Ordinary and St. Michael’s Schola Cantorum present Dieterich Buxtehude’s Jesu Membra Nostri, a set of cantatas focusing on the varied corporal sufferings experienced by Christ over the course of his trial and crucifixion. Buxtehude was a significant influence on J.S. Bach, the young protege travelling hundreds of miles to Lübeck to study the master’s organ music. (By foot, the story in Bach’s obituary goes, though John Eliot Gardiner HARALD HOFFMANN David Louie at the harpsichord. … and more! finds this a bit melodramatic, likening it to an old man “padding his resume,” recounting stories of his youth after a pint or two.) Buxtehude and the North German style of organ playing was indeed influential on the young Bach and provided a model for his early organ works, particularly from the Weimar years. Buxtehude’s Jesu Membra Nostri cantatas are written in an older style and often incorporate modal writing with hints of a conventional tonal system, a style quite similar to the stile antico moments found in the Credo and Gloria of Bach’s Mass in B Minor. Lent and Easter are extraordinarily rich musical seasons and this year’s concert calendar is an embarrassment of riches. Not only are there numerous performances of some of Bach’s finest works but also explorations of Bach’s familial and national musical influences, as well as a Bach cantata presented by the exciting and fresh Cor Unum Ensemble. If Bach’s insurmountable genius and erudite musicality is not your personal preference however, check out this magazine for other concerts and events taking place and support Toronto’s vibrant arts scene – there’s something out there for everyone! Matthew Whitfield is a Toronto-based harpsichordist and organist. sacred music for a sacred space Sit under the beautiful ceiling of St. Paul’s Basilica and be enveloped by stunning choral music – a moment for calm and contemplation. This year’s program includes: VauGhan WilliaMS’ Mass in G Minor Works by ĒrikS EšEnValdS Ave Marias by rachManinoFF, BrucknEr and lucaSzEWSki ... and MorE! Wednesday, March 28 Good Friday, March 30 7:30 pm St. Paul’s Basilica 83 Power Street (Queen & Parliament) TickeTs & VoxTix for patrons 30 & under RCM TiCkeTs 416-408-0208 or online www.tmchoir.org thewholenote.com March 2018 | 27

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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