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.
technical challenges,
technical challenges, numerous tempo changes and sheer length making it particularly difficult to learn (James Ehnes expressed the same concerns prior to his recording with Andrew Davis in 2007). The original conductor for this project was Sir Neville Marriner, who conducted the Academy of St Martin in the Fields on Pine’s critically acclaimed Avie album of the complete Mozart violin concertos, but he passed away shortly after Pine visited London to play and discuss the Elgar with him. It was a sad loss, for Marriner’s teacher was Billy Reed who, as the young concertmaster of the London Symphony Orchestra, had helped Elgar with the solo violin part. What would Sir Neville have brought to his first recording of the work, one wonders. Still, Litton does an excellent job with a concerto that can be difficult to hold together, his accompaniment having a quite different sound at times – not exactly lighter or smaller, but perhaps not as serious as some, with a great deal of sensitivity and attention to detail. There is certainly no tendency toward Elgarian pomp or Edwardian stuffiness that can sometimes make the concerto sound a bit laboured or meandering in less experienced hands. Pine’s playing in the Elgar is thoughtful and unerringly accurate with no hint of mere virtuosity, although there is perhaps less of a feel of sweeping grandeur than in some other performances. Much the same can be said of the Bruch, where again the foremost impression is one of intelligence and sensitivity in the playing rather than unabashed Romantic passion. It supports Marriner’s observation of Pine’s playing in the Mozart set, when he said “...there is no utter embellishment, everything is there for a purpose, and musically speaking, it makes such good sense.” Dedicated “to the memory of a musical hero and generous friend, Sir Neville Marriner,” the CD is an excellent addition to Pine’s impressive discography. There’s playing of the utmost warmth and sensitivity on Antonín Dvořák: String Quintet Op.97 & String Sextet Op.48, featuring the Jerusalem Quartet with violist Veronika Hagen and, in the sextet, cellist Gary Hoffman (harmonia mundi 902320). The Sextet in A Major was written in 1878 and was clearly modelled on the two string sextets of Brahms, who commented many years later on the “wonderful invention, freshness and beauty of sound” in the work. It was Brahms who had recommended Dvořák to his own publisher Simrock in 1877, and there is certainly more than a hint of the German Romantic tradition here as well as the inevitable Slavonic folk influence. The performance has effusiveness and passion, with a lovely Dumka movement and a terrific Finale. There’s no less passionate and committed playing in the Quintet in E-flat Major, which simply abounds in lyrical warmth and beauty. It was written, along with the “American” string quartet, in the Czech community of Spillville, Iowa in the summer of 1893 during Dvořák’s stay in the United States. These are simply ravishing performances, with Alexander Pavlovsky’s gorgeous first violin playing leading the way and setting a standard that the other performers have no problem matching. The Russian pianist, composer and teacher Alla Elana Cohen came to the United States in 1989 and is currently a professor at Berklee College of Music in Boston. Jupiter Duo is the title of a new CD of her music, as well as the name of the performing duo of cellist Sebastian Bäverstam and Cohen herself on piano (Ravello Records RR7978 ravellorecords.com). Cohen discovered Bäverstam, now 29, when he was barely 12 years old, and the first work of hers that they performed then, the Book of Prayers Volume 1, Series 7, opens the CD. All subsequent Cohen cello works were written for Bäverstam, and there are three other cello and piano works here: Third Vigil, an arrangement (which Cohen prefers) of her Concerto for Cello and Orchestra; Querying the Silence Volume 1, Series 2; and Book of Prayers Volume 2, Series 4, which closes the CD. Sephardic Romancero Series 2 is a challenging solo work ably handled by Bäverstam, although Cohen’s statement that “for anybody else it will be almost impossible to play this piece” says little for her awareness of contemporary world-class cellists. Cohen also contributes two works for solo piano: Three Film Noir Pieces and Spiral Staircases. It’s tough music to get a handle on, with little melodic content, a lot of thick, dense texture in the predominantly discordant piano writing and a good deal of large, heavy chords spread across the entire keyboard range. From the cello perspective Bäverstam handles all the technical challenges with ease; his lower tone in particular is beautifully rich. Of the final work on the CD, Cohen says that it is one of the rare-forher compositions “in which lighter colours prevail. It is also the most ‘consonant’ by sonority, at times even quasi-tonal.” That should give you some idea of the music on the rest of the disc, which generally seems to be tough, abrasive and frequently decidedly dark. Keyed In ALEX BARAN In this debut release (recorded at Glenn Gould Studio), Radiant Classics (Really Records, really-records.com), Nina Soyfer demonstrates her innate ability to meet the stylistic demands of a remarkably varied program. This admirable skill rests on the foundation of an impressive keyboard technique and artistic insight. She performs the Bach Toccata in D Major BWV912 with freedom and sensitivity. The Fugue in particular dances beautifully under the lightness of her touch. The disc opens with Beethoven’s 32 Variations on an Original Theme in C Minor WoO 80 and closes with his Appasionata Sonata. The Variations demand many changes in mood and the sonata depends greatly on the convincing delivery of the first movement’s heroic theme. Soyfer comes to these works with an unerring sense of who Beethoven is in all his emotional complexity, and creates an experience that is both authentic and profound. The recording’s most interesting pieces are the two Preludes by Ukrainian composer Vasyl Barvinsky. Not many of his works survive. His late-Romantic, impressionistic style is highly crafted and somewhat reminiscent of Chopin. Soyfer brings considerable emotion and power to his music, leaving the clear impression that more of it needs to be heard. Lindsay Garritson is no stranger to competitions, touring and live performance. Her impressive list of achievements makes this first disc, Lindsay Garritson, piano (lindsaygarritson.com), a welcome recording. It shows the intensity of her style and the eloquent expression of which she is so remarkably capable. She begins the disc with the Liszt Rhapsodie Espagnole S.254. It’s a full-on engagement with all the power and nuance that the composer’s work requires. The major item on the CD is the Schumann Sonata No.3 in F Minor Op.14. Its four movements demand a great deal of scope from the performer, from the often deep introspection of the second and third movements to the blazing technique of the Finale. Garritson’s technical and interpretive abilities are inspiring. She has clearly lived with this piece for a long time and justifiably owns it. 70 | March2018 thewholenote.com
Rachmaninov’s setting of the Kreisler Liebesleid completes her program in a show of capricious keyboard genius. It’s the kind of playing that brings audiences to their feet after encores. You can do it in the privacy of your living room – your secret will be safe with us. This beautiful CD Windows (Sono Luminus DSL 92218 sonoluminus.com) is the seventh in Bruce Levingston’s discography. The main work is Schumann’s Kinderszenen Op.15. Levingston proves himself an artist whose first impulse is to find and reveal a composer’s most fragile moments. His ability to do this is quite disarming. The best example of this is Träumerei. Not since Horowitz played this as the encore in his 1986 Moscow concert near the end of his life, have I heard such playing. Words completely fail. Levingston brings this approach to the whole piece and thereby creates something quite unlike anything recorded of late. The other works on the CD are commissions from two contemporary composers. The Shadow of the Blackbird by David Bruce is the program’s opening piece and is very much in the character of the Schumann that follows it. It’s deceptively simple yet searching and contemplative. A perfect beginning to Levingston’s program. The CD’s title tracks Windows are James Matheson’s five-movement composition inspired by the stained glass windows of Marc Chagall and Henri Matisse. Matheson uses the piano’s colours very effectively in his writing. Levingston plays this in a way that draws an interpretive thread convincingly through the works of all three composers. Liza Stepanova takes an unusual and creative approach to her new CD Tones & Colors (Concert Artists Guild CAG 120 concertartists.org). Using paintings as the inspiration for her four-part program, she blends music from Bach to Ligeti into themes depicting A Spanish Room, Nature and Impressionism, Conversations Across Time, and Wagner, Infinity and an Encore. It’s a skillfully assembled repertoire list and beautifully played throughout. A number of tracks stand out. El pelele by Granados makes a brilliant opening, with its rich harmonies and sparkling writing. Stepanova has equal success with the three impressionist pieces in the second set. Fanny Hensel’s September: At the River is especially effective. The third set uses four pieces in the key of E-flat minor. A Bach Prelude and Fugue BWV853, George Crumb’s Adoration of the Magi and a second fugue by Lyonel Feininger based on the subject used by Bach in his fugue. It’s quite striking to hear how the shared key draws these disparate works so tightly together. Stepanova begins her final set with Liszt’s transcription of Wagner’s Overture to Tannhäuser. It’s magnificent playing that captures the grand scale of Wagner’s work, from the solemn chorale-like opening to its towering climax. Ligeti’s Etude No.14 Infinite Column is a devilish piece to perform and reveals Stepanova’s true power at the keyboard. A graduate of Juilliard and a seasoned performer, Stepanova is one to follow in the piano world. Robert Prester may be better known today as an accomplished jazz pianist, but his new CD Robert Prester – Rapsodya (robertprester.com) is a reminder of his many years as a young pianist absorbing the classical repertoire. The learning of this period has shaped his playing with a light and precise touch, a keen interpretive impulse focused clearly on emotion, and a remarkable grasp of musical architecture. This new recording contains the Beethoven Sonata No.12 in A-flat Major Op.26 performed with a fresh and energized enthusiasm – as if it were a world premiere. Debussy’s Jardins Sous la Pluie is an impressive example of Prester’s keyboard agility. The Bach Prelude and Fugue No.6 in D Minor WTC Book II is an excellent example of the musical discipline and intuition that Prester brings to all his playing. The real gem on this disc, however, is Prester’s own composition. The Sonata in F Minor is a fusion of classical and jazz harmonies. It adheres closely to the structure of sonata form but is deeply imbued with the harmonic clusters, intervals and rhythms we associate intimately with jazz. This mix is seamless and well balanced. If anything, it’s a reminder of our enduring tendency to keep these two genres isolated in their own worlds without believing their co-mingling can produce something unique and truly beautiful. It’s a terrific recording. Visionary, successful and altogether brilliant. Nancy Zipay DeSalvo presents the work of two contemporary composers in her new recording Small Stones – Modern Piano Music (Navona Records NV 6139 navonarecords.com). Jason Tad Howard’s Piano Sonata No.2 is not really a sonata in the formal sense. Rather, it explores eight short musical ideas that the composer calls Short Shorts, before bringing them together in a final expression amusingly described as a Not Quite So Short Short Short. Despite the light humour, the work is quite substantial and at times very technically demanding. The eight pieces are varied in style and mood, and kept to less than two minutes’ playing time. They tend slightly toward a minimalist form and finally emerge in the complexity of the last movement. Daniel Perttu’s Sonata for Piano is inspired by a visit to Stonehenge. Perttu uses many compositional devices to evoke the ancient mystery associated with this landmark: minor modes, atmospheric writing and plenty of technical exploitation of the piano’s potential in evoking the moods he requires. This sonata is more challenging for the performer than the earlier work. DeSalvo handles it all with a confidence that speaks to her lifetime as a performer and teacher. The two sonatas are a good selection and represent a fine example of contrasting approaches to contemporary piano writing. Lynelle James has recorded her first solo piano CD, Lynelle James Piano (Blue Griffin Recording BGR435 bluegriffin.com). She includes the Beethoven Piano Sonata No.28 in A Major Op.101, in which the third movement emerges as a masterpiece of deeply touching melancholy. It’s a very satisfying performance that is even more thrilling for the energy that erupts in the final movement. Her command of the keyboard is inspiring, especially in the frequent restatements of the fugal subject in the bass line. Some of James’ academic work has focused on the life and music of Russian avant-garde composer Nikolay Roslavets. It’s natural that she would use her first recording to bring this lesser-known repertoire to public attention. Roslavets’ Five Preludes reveals an ethereal and somewhat mystical language that James captures with conviction and authenticity. The music is replete with dynamic and emotional changes and moves strongly in the direction of atonality while never quite losing a tonal centre, however distant. Her performance of the Scriabin Sonata No.4 in F Sharp Major Op.30 is extraordinary. The two movements are of such contrasting character, it’s difficult to believe they’re by the same composer. James understands the core of Scriabin’s expression and holds the work together wonderfully. The Schumann Symphonic Etudes Op.13 concludes the CD. Structured as a theme and variations, the bulk of the piece is a series of etudes on the opening idea. As such, it quickly becomes a beautiful display of keyboard technique and varied musical devices that Schumann conceived in his own brilliant way. James plays these with flair and an expansive grasp of their symphonic scale. thewholenote.com March2018 | 71
Welcome to our December/January issue as we turn the annual calendar page, halfway through our season for the 25th time, juggling as always, secular stuff, the spirit of the season, new year resolve and winter journeys! Why is Mozart's Handel's Messiah's trumpet a trombone? Why when Laurie Anderson offers to fly you to the moon you should take her up on the invitation. Why messing with Winterreisse can (sometimes) be a very good thing! And a bumper crop of record reviews for your reading (and sometimes listening) pleasure. Available in flipthrough here right now, and on stands commencing Thursday Nov 28. See you on the other side!
Long promised, Vivian Fellegi takes a look at Relaxed Performance practice and how it is bringing concert-going barriers down across the spectrum; Andrew Timar looks at curatorial changes afoot at the Music Gallery; David Jaeger investigates the trumpets of October; the 30th anniversary of the Velvet Revolution (and the 20th Anniversary of our October Blue Pages Presenter profiles) in our Editor's Opener; the Toronto Mendelssohn Choir at 125; Tapestry at 40 and Against the Grain at 10; ringing in the changing season across our features and columns; all this and more, now available in Flip Through format here, and on the stands commencing this coming Friday September 27, 2019. Enjoy.
Vol 1 of our 25th season is now here! And speaking of 25, that's how many films in the upcoming Toronto International Film Festival editor Paul Ennis, in our Eighth Annual TIFF TIPS, has chosen to highlight for their particular musical interest.
Also inside: Rob Harris looks through the Rear View Mirror at past and present prognostications about the imminent death of classical music; Mysterious Barricades and Systemic Barriers are Lydia Perović's preoccupations in Art of Song; Andrew Timar reflects on the evolving priorities of the Polaris Prize; and elsewhere, it's chocks away as yet another season creaks or roars (depending on the beat) into motion. Welcome back.
What a range of stuff! A profile of Liz Upchurch, the COC ensemble studio's vocal mentor extraordinaire; a backgrounder on win-win faith/arts centre partnerships and ways of exploring the possibilities; an interview with St. Petersburg-based Eifman Ballet's Boris Eifman; Ana Sokolovic's violin concert Evta finally coming to town; a Love Letter to YouTube, and much more. Plus our 17th annual Canary Pages Choral directory if all you want to do is sing! sing! sing!
Arraymusic, the Music Gallery and Native Women in the Arts join for a mini-festival celebrating the work of composer, performer and installation artist Raven Chacon; Music and Health looks at the role of Healing Arts Ontario in supporting concerts in care facilities; Kingston-based composer Marjan Mozetich's life and work are celebrated in film; "Forest Bathing" recontextualizes Schumann, Shostakovich and Hindemith; in Judy Loman's hands, the harp can sing; Mahler's Resurrection bursts the bounds of symphonic form; Ed Bickert, guitar master remembered. All this and more in our April issue, now online in flip-through here, and on stands commencing Friday March 29.
Something Old, Something New! The Ide(a)s of March are Upon Us! Rob Harris's Rear View Mirror looks forward to a tonal revival; Tafelmusik expands their chronological envelope in two directions, Esprit makes wave after wave; Pax Christi's new oratorio by Barbara Croall catches the attention of our choral and new music columnists; and summer music education is our special focus, right when warm days are once again possible to imagine. All this and more in our March 2019 edition, available in flipthrough here, and on the stands starting Thursday Feb 28.
In this issue: A prize that brings lustre to its laureates (and a laureate who brings lustre to the prize); Edwin Huizinga on the journey of Opera Atelier's "The Angel Speaks" from Versailles to the ROM; Danny Driver on playing piano in the moment; Remembering Neil Crory (a different kind of genius)' Year of the Boar, Indigeneity and Opera; all this and more in Volume 24 #5. Online in flip through, HERE and on the stands commencing Thursday Jan 31.
When is a trumpet like a motorcycle in a dressage event? How many Brunhilde's does it take to change an Elektra? Just two of the many questions you've been dying to ask, to which you will find answers in a 24th annual combined December/January issue – in which our 11 beat columnists sift through what's on offer in the upcoming holiday month, and what they're already circling in their calendars for 2019. Oh, and features too: a klezmer violinist breathing new life into a very old film; two New Music festivals in January, 200 metres apart; a Music & Health story on the restorative powers of a grassroots exercise in collective music-making; even a good reason to go to Winnipeg in the dead of winter. All this and more in Vol 24 No 4, now available in flipthrough format here.
Reluctant arranger! National Ballet Orchestra percussionist Kris Maddigan on creating the JUNO and BAFTA award-winning smash hit Cuphead video game soundtrack; Evergreen by name and by nature, quintessentially Canadian gamelan (Andrew Timar explains); violinist Angèle Dubeau on 20 years and 60 million streams; two children’s choirs where this month remembrance and living history must intersect. And much more, online in our kiosk now, and on the street commencing Thursday November 1.
Presenters, start your engines! With TIFF and "back-to-work" out of the way, the regular concert season rumbles to life, and, if our Editor's Opener can be trusted, "Seeking Synergies" seems to be the name of the game. Denise Williams' constantly evolving "Walk Together Children" touching down at the Toronto Centre for the Arts; the second annual Festival of Arabic Music and Arts expanding its range; a lesson in Jazz Survival with Steve Wallace; the 150 presenter and performer profiles in our 19th annual Blue Pages directory... this is an issue that is definitely more than the sum of its parts.
In this issue: The WholeNote's 7th Annual TIFF TIPS guide to festival films with musical clout; soprano Erin Wall in conversation with Art of Song columnist Lydia Perovic, about more than the art of song; a summer's worth of recordings reviewed; Toronto Chamber Choir at 50 (is a few close friends all it takes?); and much more, as the 2018/19 season gets under way.
PLANTING NOT PAVING! In this JUNE / JULY /AUGUST combined issue: Farewell interviews with TSO's Peter Oundjian and Stratford Summer Music's John Miller, along with "going places" chats with Luminato's Josephine Ridge, TD Jazz's Josh Grossman and Charm of Finches' Terry Lim. ) Plus a summer's worth of fruitful festival inquiry, in the city and on the road, in a feast of stories and our annual GREEN PAGES summer Directory.
In this issue: our sixteenth annual Choral Canary Pages; coverage of 21C, Estonian Music Week and the 3rd Toronto Bach Festival (three festivals that aren’t waiting for summer!); and features galore: “Final Finales” for Larry Beckwith’s Toronto Masque Theatre and for David Fallis as artistic director of Toronto Consort; four conductors on the challenges of choral conducting; operatic Hockey Noir; violinist Stephen Sitarski’s perspective on addressing depression; remembering bandleader, composer and saxophonist Paul Cram. These and other stories, in our May 2018 edition of the magazine.
In this issue: we talk with jazz pianist Thompson Egbo-Egbo about growing up in Toronto, building a musical career, and being adaptive to change; pianist Eve Egoyan prepares for her upcoming Luminato project and for the next stage in her long-term collaborative relationship with Spanish-German composer Maria de Alvear; jazz violinist Aline Homzy, halfway through preparing for a concert featuring standout women bandleaders, talks about social equity in the world of improvised music; and the local choral community celebrates the life and work of choral conductor Elmer Iseler, 20 years after his passing.
In this issue: Canadian Stage, Tapestry Opera and Vancouver Opera collaborate to take Gogol’s short story The Overcoat to the operatic stage; Montreal-based Sam Shalabi brings his ensemble Land of Kush, and his newest composition, to Toronto; Five Canadian composers, each with a different CBC connection, are nominated for JUNOs; and The WholeNote team presents its annual Summer Music Education Directory, a directory of summer music camps, programs and courses across the province and beyond.
In this issue: composer Nicole Lizée talks about her love for analogue equipment, and the music that “glitching” evokes; Richard Rose, artistic director at the Tarragon Theatre, gives us insights into their a rock-and-roll Hamlet, now entering production; Toronto prepares for a mini-revival of Schoenberg’s music, with three upcoming shows at New Music Concerts; and the local music theatre community remembers and celebrates the life and work of Mi’kmaq playwright and performer Cathy Elliott . These and other stories, in our double-issue December/January edition of the magazine.
In this issue: conversations (of one kind or another) galore! Daniela Nardi on taking the reins at "best-kept secret" venue, 918 Bathurst; composer Jeff Ryan on his "Afghanistan" Requiem for a Generation" partnership with war poet, Susan Steele; lutenist Ben Stein on seventeenth century jazz; collaborative pianist Philip Chiu on going solo; Barbara Hannigan on her upcoming Viennese "Second School" recital at Koerner; Tina Pearson on Pauline Oliveros; and as always a whole lot more!
In this issue: several local artists reflect on the memory of composer Claude Vivier, as they prepare to perform his music; Vancouver gets ready to host international festival ISCM World New Music Days, which is coming to Canada for the second time since its inception in 1923; one of the founders of Artword Artbar, one of Hamilton’s staple music venues, on the eve of the 5th annual Steel City Jazz Festival, muses on keeping urban music venues alive; and a conversation with pianist Benjamin Grosvenor, as he prepares for an ambitious recital in Toronto. These and other stories, in our October 2017 issue of the magazine.
In this issue: a look at why musicians experience stage fright, and how to combat it; an inside look at the second Kensington Market Jazz Festival, which zeros in on one of Toronto’s true ‘music villages’; an in-depth interview with Elisa Citterio, new music director of Tafelmusik Baroque Orchestra; and The WholeNote’s guide to TIFF, with suggestions for the 20 most musical films at this year’s festival. These and other stories, in our September 2017 issue of the magazine!
CBC Radio's Lost Horizon; Pinocchio as Po-Mo Operatic Poster Boy; Meet the Curators (Crow, Bernstein, Ridge); a Global Music Orchestra is born; and festivals, festivals, festivals in our 13th annual summer music Green Pages. All this and more in our three-month June-through August summer special issue, now available in flipthrough HERE and on the stands commencing Thursday June 1.
From science fact in "Integral Man: Music and the Movies," to science fiction in the editor's opener; from World Fiddle Day at the Aga Khan Museum to three Canadians at the Cliburn; from wanting to sashay across the 401 to Chamberfest in Montreal to exploring the Continuum of Jumblies Theatre's 20-year commitment to the Community Play (there's a pun in there somewhere!).
In this issue: Our podcast ramps up with interviews in March with fight director Jenny Parr, countertenor Daniel Taylor, and baritone Russell Braun; two views of composer John Beckwith at 90; how music’s connection to memory can assist with the care of patients with Alzheimer’s; musical celebrations in film and jazz, at National Canadian Film Day and Jazz Day; and a preview of Louis Riel, which opens this month at the COC. These and other stories, in our April 2017 issue of the magazine!
On our cover: Owen Pallett's musical palette on display at New Creations. Spring brings thoughts of summer music education! (It's never too late.). For Marc-Andre Hamelin the score is king. Ella at 100 has the tributes happening. All; this and more.
In this issue: an interview with composer/vocalist Jeremy Dutcher, on his upcoming debut album and unique compositional voice; a conversation with Boston Symphony hornist James Sommerville, as as the BSO gets ready to come to his hometown; Stuart Hamilton, fondly remembered; and an inside look at Hugh’s Room, as it enters a complicated chapter in the story of its life in the complex fabric of our musical city. These and other stories, as we celebrate the past and look forward to the rest of 2016/17, the first glimpses of 2017/18, and beyond!
In this issue: a conversation with pianist Stewart Goodyear, in advance of his upcoming show at Koerner Hall; a preview of the annual New Year’s phenomenon that is Bravissimo!/Salute to Vienna; an inside look at music performance in Toronto’s health-care centres; and a reflection on the incredible life and lasting influence of the late Pauline Oliveros. These and more, in a special December/January combined issue!
In this issue: David Jaeger and Alex Pauk’s most memorable R. Murray Schafer collabs, in this month’s installment of Jaeger’s CBC Radio Two: The Living Legacy; an interview with flutist Claire Chase, who brings new music and mindset to Toronto this month; an investigation into the strange coincidence of three simultaneous Mendelssohn Elijahs this Nov 5; and of course, our annual Blue Pages, a who’s who of southern Ontario’s live music scene- a community as prolific and multifaceted as ever. These and more, as we move full-force into the 2016/17 concert season- all aboard!
Music lover's TIFF (our fifth annual guide to the Toronto International Film Festival); Aix Marks the Spot (how Brexit could impact on operatic co-production); The Unstoppable Howard Cable (an affectionate memoir of a late chapter in the life of of a great Canadian arranger; Kensington Jazz Story (the newest kid on the festival block flexes its muscles). These stories and much more as we say a lingering goodbye to summer and turn to the task, for the 22nd season, of covering the live and recorded music that make Southern Ontario tick.
It's combined June/July/August summer issue time with, we hope, enough between the covers to keep you dipping into it all through the coming lazy, hazy days. From Jazz Vans racing round "The Island" delivering pop-up brass breakouts at the roadside, to Bach flute ambushes strolling "The Grove, " to dozens of reasons to stay in the city. May yours be a summer where you find undiscovered musical treasures, and, better still, when, unexpectedly, the music finds you.
INSIDE: The Canaries Are Here! 116 choirs to choose from, so take the plunge! The Nylons hit the road after one last SING! Fling. Jazz writer Steve Wallace wonders "Watts Goode" rather than "what's new?" Paul Ennis has the musical picks of the HotDocs crop. David Jaeger's CBC Radio continues golden for a little while yet. Douglas McNabney is Music's Child. Leipzig meets Damascus in Alison Mackay's fertile imagination. And "C" is for KRONOS in Wende Bartley's koverage of the third annual 21C Festival. All this and as usual much much more. Enjoy.
From 30 camp profiles to spark thoughts of being your summer musical best, to testing LUDWIG as you while away the rest of so-called winter; from Scottish Opera and the Danish Midtvest, to a first Toronto recital appearance by violin superstar Maxim Vengerov; from musings on New Creations and new creation, to the boy who made a habit of crying Beowulf; it's a month of merry meetings and rousing recordings reviewed, all here to discover in The WholeNote.
2016 is off to a flying start! We chronicle the Artful Times of Andrew Burashko, the violistic versatility of Teng Li, the ageless ebullience of jazz pianist Gene DiNovi and the ninetieth birthday of trumpeter Johnny Cowell. Jaeger remembers Boulez; Waxman recalls Bley's influence, and Olds finds Bowie haunting Editor's Corner. Oh, and did we mention there's all that music? Hello (and goodbye) to the February blues, and here's to swinging through the musical vines of the Year of the Monkey.
What's a vinyl renaissance? What happens when Handel's Messiah runs afoul of the rumba rhythm setting on a (gasp!) Hammond organ? What work does Marc-Andre Hamelin say he would be content to have on every recital program he plays? What are Steve Wallace's favourite fifty Christmas recordings? Why is violinist Daniel Hope celebrating Yehudi Menuhin's 100th birthday at Koerner Hall January 28? Answers to all these questions (and a whole lot more) in the Dec/Jan issue of The WholeNote.
"Come" seems to be the verb that knits this month's issue together. Sondra Radvanovsky comes to Koerner, William Norris comes to Tafel as their new GM, opera comes to Canadian Stage; and (a long time coming!) Jane Bunnett's musicianship and mentorship are honoured with the Premier's award for excellence; plus David Jaeger's ongoing series on the golden years of CBC Radio Two, Andrew Timar on hybridity, a bumper crop of record reviews and much much more. Come on in!
Vol 21 No 2 is now available for your viewing pleasure, and it's a bumper crop, right at the harvest moon. First ever Canadian opera on the Four Seasons Centre main stage gets double coverage with Wende Bartley interviewing Pyramus and Thisbe composer Barbara Monk Feldman and Chris Hoile connecting with director Christopher Alden; Paul Ennis digs into the musical mind of pianist Benjamin Grosvenor, and pianist Eve Egoyan is "On the Record" in conversation with publisher David Perlman ahead of the Oct release concert for her tenth recording. And at the heart of it all the 16th edition of our annual BLUE PAGES directory of presenters profile the season now well and truly under way.
Paul Ennis's annual TIFF TIPS (27 festival films of potential particular musical interest); Wu Man, Yo-Yo Ma and Jeffrey Beecher on the Silk Road; David Jaeger on CBC Radio Music in the days it was committed to commissioning; the LISTENING ROOM continues to grow on line; DISCoveries is back, bigger than ever; and Mary Lou Fallis says Trinity-St. Paul's is Just the Spot (especially this coming Sept 25!).
