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Volume 23 Issue 7 - April 2018

  • Text
  • April
  • Toronto
  • Jazz
  • Musical
  • Symphony
  • Arts
  • Performing
  • Choir
  • Theatre
  • Orchestra
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.

Maria de Alvear After

Maria de Alvear After such a profound experience performing de Alvear’s pieces, Egoyan had a desire to perform more such works, and thus began a long association between the two artists. De Alvear wrote specific works for Egoyan, including two piano concertos Clear Energy (2006) and Sky Music (2009), as well as the solo piano work Asking (2001). The friendship and collaboration is so strong that de Alvear invited her to attend the presentation of the Spanish National Award for Music in composition presented by the King and Queen of Spain in June 2016. Long works, long term relationships: Another outcome of her connection with de Alvear was to seek out and perform long duration works by other composers. A week after the Toronto performance, Egoyan will travel to Victoria and offer a unique listening experience of four concerts comprised of long duration works by de Alvear, Ann Southam, Rudolf Komorous and Linda Catlin Smith presented over the course of two days, on April 21 and 22. Over her career, Egoyan has developed intimate and long-lasting creative associations with each of these composers, and each of these collaborations has resulted in CD recordings as well as multiple performances. In the course of our conversation, Egoyan told me more about these long term relationships. “When people write for me, it’s like having them dress me, they are creating clothing for me. There is a feeling of intimacy – I know them and they know me. I slip into that world and there is a sense of trust and openness when I play music by people I really know. Interpreting is a strange thing for me – I’m giving myself, opening myself fully into somebody’s creativity. I really need to trust that meeting place for me to feel that it’s most effective.” One such long term relationship has been with composer Ann Southam. After de Alvear’s visit to Toronto for the premiere of her work Asking, Southam was so struck by it, that she wrote a long duration work for Egoyan entitled Simple Lines of Enquiry in 2008 in response. That particular visit was also inspiring in a unique way for several women composers who attended. Egoyan describes it this way: “We were impacted by the fact that de Alvear didn’t hold back from taking up space. Maria only writes long pieces, she only takes up time. We were struck by the fact that a woman would actually say ‘I’m here, I’m allowed to be here for this long, without any apology.’ That’s what inspired Ann to write that long work for me.” In describing de Alvear’s character, Egoyan stated: “She herself is a force, an unbelievable presence that blew us out of the water. You could say that her music aggressively asserts itself by its duration, but it’s not aggressive music.” Solo for Duet to get Luminato debut Egoyan’s latest project, Solo for Duet: works for augmented piano and images, will receive its premiere at this season’s Luminato Festival on June 19 and 20. The project takes her love of creating intimacy between piano and audience to a whole new level. It combines six piano works by six different composers and presents them as a theatrical production, combining choreographed movements, speaking, singing, images and unspoken narrative. In choosing the repertoire, Egoyan has intentionally created a gender-balanced program with works by distinguished artists David Rokeby, Michael Snow, John Oswald, Nicole Lizée, Linda Catlin Smith, and Duet, a new piece for disklavier she has composed for herself. The disklavier is capable of producing both acoustic piano sounds as well as sampled and digitally altered sounds. “Duet explores the space between what a piano can do and what I wish a piano could do. It’s a conversation between the piano and its dream self. The virtual piano can do infinite sustain, tremolo, change pitch and reveal harmonic overtones.” By performing on a disklavier, Egoyan and her collaborators transform the piano into a visual instrument, combining sampled sound, film and interactive images, and drawing inspiration from the films of David Lynch, a Shakespearean sonnet, technical glitches and more. Egoyan acknowledges that creating and preparing to perform this program has been very challenging for her. “I’m going from being extremely intimate in my performances to more extroverted than I’ve ever been before. I’m also revealing my own creative voice, which I’ve never done publicly except for some improvisation.” By combining theatrical, musical and visual elements, she seeks to create “a unique hybrid, alternating sections of multi-sensory intensity with periods of delicacy and stillness. This will draw the audience in close to listen and then expand outwards with the addition of visuals and theatrical elements.” Directed by Joanna McIntyre, following its Luminato debut the piece is scheduled to tour throughout Canada in the fall of 2018 and Australia the following May. Wendalyn Bartley is a Toronto-based composer and electro-vocal sound artist. sounddreaming@gmail.com. THE LAST CHACONNE On the stage where it all began, a star-studded array of singers, actors, dancers and instrumentalists comes together for a farewell celebration. In a joyful tribute to the company’s spirit and energy, we present TMT favourites by composers John Blow, Dean Burry, George Frideric Handel, Alice Ping Yee Ho, Henry Purcell, James Rolfe, and a new commission by our close friend Andrew Downing. 12 May 2018, 8:00 p.m. Jane Mallett Theatre Tickets from , online or call 1-855-872-7669 an Ontario government agency un organisme du gouvernement de l’Ontario 12 | April 2018 thewholenote.com

Anthony de Mare Maarja Nuut & HH Kronos Quartet Simone Dinnerstein Dinuk Wijeratne Jherek Bischoff Katia and Marielle Labèque TWENTY-FIRST CENTURY MUSIC FESTIVAL MAY 23-27/2018 TODAY’S MOST INNOVATIVE MUSICIANS AND COMPOSERS BRING US FRESH NEW SOUNDS AND IDEAS. KRONOS QUARTET JHEREK BISCHOFF DINUK WIJERATNE ANTHONY DE MARE MAARJA NUUT & HH VOX CLAMANTIS KATIA AND MARIELLE LABÈQUE SIMONE DINNERSTEIN 8 CONCERTS 5 DAYS 21+ PREMIERES TICKETS & PASSES ON SALE NOW! TICKETS START AT ONLY ! 416.408.0208 rcmusic.com/performance #21Cmusic #KoernerHall THE 21C MUSIC FESTIVAL IS MADE POSSIBLE THROUGH THE GENEROUS SUPPORT OF MICHAEL AND SONJA KOERNER

Volume 26 (2020- )

Volume 26 Issue 1 - September 2020
Volume 26 Issue 2 - October 2020

Volumes 21-25 (2015-2020)

Volume 25 Issue 9 - July / August 2020
Volume 25 Issue 8 - May / June 2020
Volume 25 Issue 7 - April 2020
Volume 25 Issue 6 - March 2020
Volume 25 Issue 5 - February 2020
Volume 25 Issue 4 - December 2019 / January 2020
Volume 25 Issue 3 - November 2019
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

Volumes 16-20 (2010-2015)

Volumes 11-15 (2004-2010)

Volumes 6 - 10 (2000 - 2006)

Volumes 1-5 (1994-2000)