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Volume 23 Issue 9 - June / July / August 2018

  • Text
  • Festival
  • Listings
  • August
  • Toronto
  • Jazz
  • Concerts
  • Musical
  • Theatre
  • Quartet
  • Orchestra
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.

Beat by Beat | Early

Beat by Beat | Early Music CONOR HORGAN FOR THISISPOPBABY done. I think you’ll find a lot of connection to Toronto audiences because of the territory it covers and because it is so entertaining. And because of the contrast in style with everything else? That’s why we are running it a bit longer – so it has a chance to bridge a lot of the other works that are taking place. The whole festival is longer this year. Is there extra programming or are you spreading things out? It’s more about pace, allowing there to be some air in between, so hopefully people can see Up & Over It in Riot. more but also connect the various aspects of the festival. It’s also structural: with only two weekends you begin and you end; with three weekends now we have a beginning, middle and end, and we’re telling a story. Luminato runs from June 6 to 24 at various venues around Toronto. Follow our online blog for more previews and reviews of music theatre around Ontario this summer. Quick Picks June 1 to 10: Frame by Frame. A new collaboration between international theatrical innovator Robert Lepage with Canadian choreographer Guillaume Côté, celebrating and showcasing excerpts of Canadian filmmaker Norman McLaren’s groundbreaking films. National Ballet of Canada at the Four Seasons Centre, Toronto. June 6, 7: Soundstreams finishes its 35th season with an exciting two-part music theatre program, the world premiere of James Rolfe’s I Think We Are Angels, with a libretto based on the poems of Else Lasker-Schüler, and a new theatrical version of David Lang’s The Little Match Girl Passion led by music director John Hess and stage director Jennifer Tarver. At Crows Theatre, 345 Carlaw, Toronto. June 16: Tony Award-winning Scottish actor Alan Cumming (of The Good Wife and many other shows) comes to Massey Hall for one night only with his new cabaret show Legal Immigrant, built around stories and songs of his life and loves in his adopted homeland, the USA. June 26: A rare chance to see Canadian stage and film star Christopher Plummer live at the TSO, in Christopher Plummer’s Symphonic Shakespeare, at Roy Thomson Hall, Toronto. July 13 to August 12: Rosalynde (or As You Like It). Driftwood Theatre places one of Shakespeare’s most musical comedies in Canada in 1918, with the songs given new musical settings to fit the period by music director and composer Tom Lillington. In parks around Ontario; see driftwoodtheatre.com/bards-bus-tour for details. Toronto-based “lifelong theatre person” Jennifer (Jenny) Parr works as a director, fight director, stage manager and coach, and is equally crazy about movies and musicals. The Summer Music Road Map Has No Wrong Turns MATTHEW WHITFIELD Music and nature are closely intertwined, the beautiful sights, sounds and smells of our planet inspiring musicians for centuries, even millennia. The ancient philosophical concept of a Harmony of the Spheres as proposed by Pythagoras suggests that the sun, moon and planets all emit their own unique pitch frequency based on their orbital revolution, and that the quality of life on Earth reflects the harmony of celestial sounds which are physically imperceptible to the human ear. Although Aristotle later contested this theory, the idea of Harmonia mundi continues to be reinvented and interpreted by composers in new and exciting ways. For example, in 1996 the Dutch composer Joep Franssens premiered his massive Harmony of the Spheres for chorus, combining minimalist and spectralist approaches to create a work that captures both the profound immensity of the universe and the bright shimmer of far-off stars. Between Pythagoras and Franssens lies a wealth of nature-inspired music, from silly and serene to severe and stormy. Birds in particular have been a source of inspiration: German Baroque pipe organs contained special stops such as the nightingale, which produced a fluttering, high-pitched whistle (the organ at Metropolitan United has a nightingale stop, a generous donation from an organ aficionado), while French Baroque musicians such as Daquin and Rameau wrote imitations of birds in works such as Le Coucou and La Poule. Perhaps the greatest ornithological composer in history is Olivier Messiaen, who faithfully transcribed bird calls noting the species and location, and wove these threads into masterful pieces of music. It is nearly impossible to find a late work of Messiaen that does not incorporate bird song as an integral and essential component. Bach and Handel used the pastoral as a musical model, illustrating idyllic scenes of shepherds tending their sheep. Mozart wove birds into The Magic Flute through the character of Papageno, an earthy birdcatcher who, when he finds his perfect match in Papagena, rejoices with an imitation of bird-like courting sounds. Beethoven and Brahms both enjoyed long walks through the woods, put to paper in Beethoven’s case in Symphony No. 6, “Pastoral,” portraying everything from bubbling brooks and bird calls to a violent thunderstorm. Mahler used his mountain retreat as his summertime escape from Vienna, hiking, walking, rowing and composing his greatest works in a nearby hut, mirroring the intensity of his temperament and the immensity of the mountains in his large-scale symphonies. Summer continues to be a time of escape and refuge for many, whether braving traffic on Highway 400 to reach a familiar lakeside cottage hideaway or taking a road trip and exploring new and exciting places. While many use the summer months as a chance to get away and recharge, musicians sometimes seem to grow busier over July and August, as evidenced by the plethora of festivals and concert series that continue to increase in number and scale each year. A quick glance at the Green Pages in this issue of The WholeNote provides some idea of the sheer number of exciting opportunities available to hear new, old and endearingly familiar masterpieces. Regardless 36 | June | July | August 2018 thewholenote.com

of where your travels take you, there is something to see and listen to. Here is a brief overview of this summer’s early music festivals and events: June May and June offer season-ending performances by organizations across the city, grand finales showcasing great ensembles and equally great musical works. As seasons end, others begin, and this June serves as the starting point for numerous summer programs and concerts. The Tafelmusik Baroque Summer Institute (TBSI), a worldrenowned training program for advanced students, pre-professional and professional musicians in instrumental and vocal Baroque performance practice, is led by some of the world’s finest musicians in the field. This year’s TBSI runs from June 10 to 23 and features five separate performances by faculty and students at venues across Toronto’s Bloor-Annex corridor, including Jeanne Lamon Hall and Walter Hall, with the grand finale at Grace Church on-the-Hill. As a former participant in this superb training program, I cannot speak highly enough of the quality of repertoire and tutelage each participant receives, and strongly encourage lovers of early music to attend at least one of these performances. Keep the program, too – you’ll be amazed at how many names return as fully formed performers in following years! focusing on rarely heard music including the complete keyboard works, the complete sonatas for flute, recorder, violin and gamba, the complete trio sonatas, concerti for violin, organ and harp, and rarely heard oratorios and masques, performed by many of Montreal’s Baroque ensembles, established and novice, as well as invited guests. Taking inspiration from Berlioz’s description of Handel as a “tub of pork and beer,” the Montreal Festival events will include food and wine tastings. (Handel, a famously corpulent person, was a wellknown epicurean famed for downing two bottles of red each evening – he eventually developed a serious case of gout!) July Elora and Parry Sound: If June is the month of Handel, July presents a mixed-bag assortment of much-loved early music. The Elora Festival, renowned for its varied and eclectic programming, offers performances by both guest ensembles and the resident Elora Singers and Festival Orchestra. This year’s guests include the Studio de Musique Ancienne de Montréal in a concert of three settings of Lamentations by the prophet Jeremiah, written by the 16th-century composers Tallis, Morales and de Lassus; the renowned English ensemble The Gesualdo Six, making their Canadian debut; and two concerts by the Elora ensembles, featuring Bach’s Lutheran Masses, Handel’s Dettingen Te Deum and Mozart’s Mass in C. Further north, the Festival of the Sound presents six concerts from July 25 to 27, pairing works by Bach with pieces by other canonic composers such as Mozart, Schumann, Brahms and Debussy. This series (titled “Papa Bach”) explores Johann Sebastian Bach’s influence on subsequent generations of musicians, as each concert features a solo cello suite followed by a work from a composer who was inspired by his music. Featuring a wide range of performers playing on modern instruments, this varied series presents an interesting contrast with the Baroque specialists featured throughout June’s festivals. THE GREAT MASTER OF DRAMA INSPIRES A SUMPTUOUS PANOPLY OF HIS MOST EXTRAVAGANT AND INTIMATE WORKS! Alison Melville, recorder player and flutist of North Wind Concerts, when she hosted CBC Radio 2’s This Is My Music North Winds Do Blow! On June 16, some of Canada’s most celebrated Baroque music specialists play a cornucopia of beautiful tunes from Handel operas and oratorios. ”Handel: Airs for the Theatre” showcases tunes from Rinaldo, Acis & Galatea, Riccardo Primo, Orlando, Admeto and other Handelian hits, arranged by Toronto’s own Colin Savage after 18th-century models, as well as a few 18th-century arrangements published by Handel’s contemporary, John Walsh. Featuring Baroque woodwind wizards from across the city playing a diverse and colourful array of period instruments, this concert is an ideal celebration of summer’s arrival, and the debut performance of North Wind Concerts, an evolution of the group formerly known as Baroque Music Beside the Grange. Taking place at St. Thomas’s Anglican Church, this concert is perfectly located, just down the road from Tafelmusik’s Summer Institute. Montréal Baroque: If you are planning a trip to Montreal in June, make sure to explore the 2018 Festival Montréal Baroque’s “Hallelujah Handel,” taking place from June 21 to 24. This overview of Handel’s output from his solo sonatas to opera will be a first for Montreal, MONTREALBAROQUE.COM 514 845-7171 thewholenote.com June | July | August 2018 | 37

Volumes 21-23 (2015-2018)

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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